Anime Studio Pro 6 Users Manual

Transcription

Anime Studio
Users Manual
Anime Studio
Pro 6
Users Manual

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Anime Studio
Users Manual
Contents
Welcome��1
Introduction��2
Demo Limitations�� 2
What’s New: New Features in Anime Studio 6�� 2
User Interface�� 2
Scripting�� 3
Tool Improvements�� 3
Audio and Video�� 4
Animation�� 4
Lip Sync�� 4
Morph Targets �� 5
Import and Export�� 5
Motion Tracking�� 5
Rendering�� 5
License��6
Anime Studio License Agreement�� 6
Anime Studio Tutorials��10
Drawing��11
Tutorial 2.1: Welding�� 11
How to Weld Points�� 11
Why to Weld Points�� 15
Examples of Good Welding�� 15

Examples of Bad Welding�� 17
Tutorial 2.2: Drawing Shapes with Holes�� 20
Reminder of Fill Rules�� 20
Creating Holes�� 21
Tutorial 2.3: Hidden Edges�� 22
Start With a Sample File�� 22
Hidden Edges�� 23
Finishing Touches�� 24
Tutorial 2.4: Shape Ordering�� 25
Raising and Lowering Shapes�� 26
Selecting Hidden Shapes�� 28
Tutorial 2.5: Brushes (Anime Studio Pro Only)�� 30
Draw Some Freehand Curves�� 30
Tutorial 2.6: Layer Masking�� 34
Another Example - Simplified Modeling�� 37
Another Example - Transition Effect�� 37
Tutorial 2.7: Styles (Anime Studio Pro Only)�� 38
How Styles Are Applied�� 41
Tutorial 2.8: Simple 3D Construction (Anime Studio Pro
Only)�� 43
Start With a Blank File�� 44
Creating The Faces�� 44
Positioning Faces�� 45
Depth Sorting�� 48
Anime Studio
Users Manual
Bones��49
Tutorial 3.1: Bone Binding��49
Start With a Sample File��49
Automatic Binding��49
Manual Binding��53
Layer Binding��55
Go Back to Automatic Mode��56
Tutorial 3.2: Bone Constraints��57
Angle Constraints��57
Control Bones��60
Bone Locking��62
Tutorial 3.3: Bone Dynamics��64
Adjusting Spring Parameters��66
Tutorial 3.4: Character Setup��68
Split Apart the Character��69
Add Bones��70
Adjust Bone Influence��74
Put the Character Back Together��75
Images��78
Tutorial 4.1: Image Layers��78
Alpha Channels��78
Tutorial 4.2: Image Warping��81
Using Image Warping�� 82
Tutorial 4.3: Animating a Talking Head�� 84
Test Bones�� 85
Adding Sound and Motion�� 85
Tutorial 4.4: Image Textures�� 86
Paint the Textures�� 87
Import Textures�� 91
Use Masking for Clean Edges�� 91
Animation��94
Tutorial 5.1: Automatic Lip-Sync�� 94
Tutorial 5.2: Phoneme Lip-Sync�� 96
Tutorial 5.3: Animation Curves (Anime Studio Pro Only)98
Introduction�� 98
Motion Curves�� 98
Tutorial 5.4: Sorting Layers by Depth (Anime Studio Pro
Only)�� 101
Creating Depth�� 102
Sorting Layers by Depth�� 103
Tutorial 5.5: Cycling�� 104
Conclusion�� 106

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Tutorial 5.6: Actions (Anime Studio Pro Only)��106
Using Actions��108
Tutorial 5.7: Frame by Frame Animation��110
Start With a Blank File��111
Play it Back��113
Tutorial 5.8: Creating a 3D Scene (Anime Studio Pro Only)
��114
Creating a Ground Plane��115
Arranging Foreground Objects��116
Moving the Camera��119
Effects�� 122
Tutorial 6.1: Particles (Anime Studio Pro Only)��122
Using A Particle Layer��123
Tutorial 6.2: Particle Tricks - Grass and Crowds (Anime
Studio Pro Only)��124
Changing Particle Settings��125
Crowds of People��127
Tutorial 6.3: Using Pre-made Particle Effects (Anime
Studio Pro Only)��128
Add the Smoke Effect��129
Another Effect - Sparkles��130
Tutorial 6.4: Speeding Up Particle Effects (Anime Studio
Pro Only)��131

Preparing a Movie for Re-use��131
Using Movies in Image Layers��132
Tutorial 6.5: Perspective Shadows (Anime Studio Pro Only)
��134
Moving a Layer Into Perspective��134
The “Trick”��137
Tutorial 6.6: Shadow Tricks��139
Basic Layer Shadow��140
Layer Glow��140
Layer Outline��141
Tutorial 6.7: Camera and Depth Effects��142
Creating Depth��143
Animating Camera Movement��144
Tutorial 6.8: Using 3D Models (Anime Studio Pro Only)
��146
Import a Basic 3D Model��146
Using 3D Models in a Face��147
Textures and Scenery��148
Conclusion��149
Tutorial 6.9: Moon and Clouds Effect��149
Examine a Finished Animation��149
How It’s Done��150
Using Anime Studio�� 152
Anime Studio
Users Manual
Layer Types��153
Vector Layers�� 154
Image Layers�� 155
Group Layers (Anime Studio Pro Only)�� 156
Bone Layers�� 156
Switch Layers�� 158
Particle Layers (Anime Studio Pro Only)�� 160
3D Layers (Anime Studio Pro Only)�� 162
Note Layers (Anime Studio Pro Only)�� 162
Audio Layers�� 163
Tool Groups��164
Tool Overview�� 164
Draw Tools�� 165
Select Points�� 165
Translate Points�� 167
Scale Points�� 170
Rotate Points�� 170
Add Point�� 171
Freehand�� 173
Draw Shape�� 175
Insert Text�� 176
Scatter Brush�� 177
Delete Edge�� 178
Curvature�� 178
Magnet (Anime Studio Pro only)�� 179
Perspective Points�� 180
Shear Points�� 181
Bend Points�� 181
Noise�� 182
Fill Tools�� 182
Color Picking�� 183
Select Shape�� 183
Create Shape�� 183
Paint Bucket�� 185
Delete Shape�� 188
Eyedropper�� 188
Line Width�� 188
Hide Edge�� 189
Complex Fill Shapes�� 189
Compound Fills�� 192
A Trick: Using Two Fills Instead of One�� 192
Bone Tools�� 194
Using skeletons to manipulate drawings �� 194
Select Bone�� 194
Translate Bone�� 195
Scale Bone�� 196
Rotate Bone�� 197
Add Bone�� 197
Reparent Bone�� 198
Bone Strength�� 198

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Manipulate Bones��199
Bind Layer��200
Bind Points��200
Offset Bone��201
Layer Tools��201
Translate Layer��202
Scale Layer��203
Rotate Layer Z��203
Set Origin��204
Rotate Layer XY (Anime Studio Pro only��205
Shear Layer (Anime Studio Pro only)��205
Switch Layer��206
Particle Layer (Anime Studio Pro only)��206
Video Tracking��207
Camera Tools��215
Track Camera��215
Zoom Camera��216
Roll Camera��216
Pan/Tilt Camera��216
Workspace Tools��216
Pan Workspace��217
Zoom Workspace��217
Rotate Workspace (Anime Studio Pro only)��217

Orbit Workspace (Anime Studio Pro only)��218
User Interface�� 219
Anime Studio’s Main Window�� 220
Overview��220
Toolbar��221
Status Bar��222
Playback Buttons��222
Display Quality (Anime Studio Pro only)��223
Anime Studio Menus�� 225
File Menu��225
New��225
Open...��225
Open Recent��225
Close��225
Save��225
Save As...��225
Project Settings...��226
Import��228
Preview��231
Exporting Movies��231
Export Animation...��232
Exporting Flash��233
Exporting Still Images (Anime Studio Pro only)��236
Batch Export... (Anime Studio Pro only)��236
Quit��237
Edit Menu��238
Undo��238
Anime Studio
Users Manual
Redo�� 238
Cut, Copy, Paste�� 238
Clear�� 238
Select All�� 238
Select None�� 238
Select Inverse�� 238
Select Connected�� 239
Preferences...�� 239
Draw Menu�� 241
Insert Text...�� 241
Snap to Grid (Anime Studio Pro only)�� 242
Reset Line Width (Anime Studio Pro only)�� 242
Random Line Width... (Anime Studio Pro only)�� 242
Peak�� 242
Smooth�� 242
Raise Shape�� 242
Lower Shape�� 242
Raise to Front�� 242
Lower to Back�� 242
Reset Points�� 243
Reset All Points�� 243
Bone Menu�� 243
Release Points�� 243
Flexi-Bind Points�� 243
Release Layer�� 243
Flexi-Bind Layer�� 243
Hide Controlled Bones�� 244
Track Bone to Video�� 244
Reset Bone�� 244
Reset All Bones�� 244
Animation Menu�� 244
Allow Frame Skipping�� 244
Clear Animation From Layer�� 245
Clear Animation From Document�� 245
Reset All Layer Channels�� 245
Set Layer Start Time�� 245
Select All Keyframes�� 245
Rescale Keyframes...�� 245
Copy Current Frame...�� 246
Blend Morphs�� 247
Track Layer to Video�� 248
Mute Audio�� 248
Restart Audio Track�� 249
Audio Level�� 249
Scripts Menu (Anime Studio Pro only)�� 249
3D�� 249
Camera�� 250
Draw�� 250
Image�� 250
Layer Effects�� 251
Other�� 251
Particle Effects�� 251
Script Writing�� 252
Sound�� 253

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Visibility��253
Warp��253
View Menu��253
Reset��254
Direction (Anime Studio Pro only)��254
Enable Grid��254
Grid Settings��254
Disable Grid Snapping (Anime Studio Pro only)��254
Video Safe Zones (Anime Studio Pro only)��254
Show Output Only��254
Select Tracing Image (Anime Studio Pro only)��255
Show Tracing Image (Anime Studio Pro only)��255
Window Menu��255
Tools��255
Layers��255
Timeline��255
Style��255
Actions��255
Help Menu��256
Help��256
Open Content Library��256
Online Tutorials��256
Welcome Screen��256
Register Your Product��256
About Anime Studio��256
About Scripts��256
Buy Content��256

Check For Updates��257
Upgrade to Professional Version (Anime Studio only)
��257
Anime Studio Windows�� 258
Layers Window��258
Overview��258
The Layer List��258
Layer Toolbar��260
Layer Settings��260
Style Window��274
Fill��274
Stroke��277
Color Swatches��279
Other��279
Advanced Options��279
Timeline Window��280
Overview��280
Controlling Time��282
Playing a Partial Segment��284
Animation Channels��284
Working with Keyframes��286
Sequencer��287
Motion Graph (Anime Studio Pro only)��289
Actions Window (Anime Studio Pro Only) ��290
Creating New Actions��291
Editing Actions��291
Using Actions��292
Anime Studio
Users Manual
Deleting Actions�� 293
Creating Morphs�� 293
Library Window�� 295
Appendix��298
Anime Studio Shortcuts�� 298
Product Comparison��299
Vector Drawing Features�� 299
Vector Modifiers�� 299
Fill Features�� 300
Fill Modifiers�� 300
Bone Features�� 300
Layer Features�� 300
Layer Modifiers�� 301
Layer Types�� 301
Camera Features�� 301
Workspace Features�� 301
Timeline Features�� 302
Action Features�� 302
Style Features�� 302
Preferences�� 302
Project Settings�� 302
Content�� 303
Scripts�� 303
View�� 303
Import�� 304
Export Formats�� 304
Technical Support: Where to Go When You
Need Help��306
Online Manual�� 306
Anime Studio on the Web�� 306
Anime Studio Discussion Forum�� 306
Email Support�� 306
Acknowledgements��307
Artist Acknowledgements�� 307
User Samples/3D Objects (Anime Studio Pro only)� 308
User Samples/Characters (Anime Studio Pro only)� 308
User Movies (Anime Studio Pro only)�� 308
User Samples/Objects (Anime Studio Pro only)�� 309
DK Content (Anime Studio Pro only)�� 309
Keyboard Shortcuts��310
Common Shortcuts�� 310
Working with Vector Layers�� 311
Working with Fill Tools�� 311
Working with Bone Tools�� 311
Working with the Timeline Window�� 311
Mouse Shortcuts��312
Workspace Navigation�� 312
Timeline Scrubbing�� 312
Numeric Fields and Angle Knobs�� 312

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Anime Studio
Users Manual
Welcome

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Anime Studio
Users Manual
Introduction
Anime Studio is a complete animation system for creating 2D anime
and cartoons. This document is the user’s manual, containing useful
information to get you started, as well as a detailed reference to all of
Anime Studio’s features.
If you’re just getting started using Anime Studio, the best place to begin
is with the “Anime Studio Tutorials” on page 10. This section will give you
a quick overview of how Anime Studio works, and what you can do with
it. Even if you’ve used Anime Studio in the past, you might want to give
the tutorials a quick read to see what’s changed in this version.
If you’ve been using Anime Studio for a while now, and you want more
information on some specific feature or interface element, choose the
section that interests you from the table of contents. The “Using Anime
Studio” section describes how to perform the basic tasks of working in
Anime Studio, while “Interface Reference” goes into detail about what
every menu item and button in Anime Studio is used for.
Finally, if you’re having a problem that just isn’t answered in this
document, please see “Technical Support: Where to Go When You Need
Help” on page 306. We want to do everything we can to make using Anime
Studio a fun and productive experience.
Demo Limitations
If you haven’t purchased a copy of Anime Studio, then the program will
be running in “demo” mode. While in demo mode, Anime Studio still
Introduction
allows you access to all features of the program. Anything you can do in
the full version you can do in the demo. Also, any files you create with
the demo version of Anime Studio will still work fine if you purchase the
full version.
The demo version has just three limitations: First, you can only run the
demo version of Anime Studio for 30 days. Second, you cannot import
any external file formats including images and movies. Third, you cannot
export your animations to other formats (QuickTime, AVI, Flash, etc.).
To purchase Anime Studio, click here.
What’s New: New Features in
Anime Studio 6
The following is not a comprehensive list of new features, but it covers
most of the major changes in version 6 that might be of interest to
experienced Anime Studio users.
User Interface
•
New presets for document resolution. Debut is limited to 788x768.
•
New UI colors
•
Dockable windows, and resizable while docked
•
Tool consolidation
•
Add checkbox to doc window to turn on/off Construction Curves
Anime Studio
Users Manual
•
Space bar pans canvas
•
No more separation between default and current color style
•
Mini Style window (with an option to switch to “advanced” mode)
•
Layer properties pop up is in layers on each layer
•
Dialogs remember where they were placed and open in the same
location
•
Hot keys and menu items to Hide a shape, and Show All shapes. All
hidden shapes are shown upon opening a file.
•
New default color palette
•
When picking a color from the palette, preserve the existing alpha
value
•
New library
•
Scripting
•
Upgraded to Lua 5.1
•
Script writers need to use ipairs() function
•
Exposed some more functions to scripting
Tool Improvements
•
New Scatter Brush
•
Eye Dropper tool- now picks fill and stroke off of any object on any
layer.
•
Some fill effects (gradient and image texture) can now be placed
precisely on a shape using the Select Shape tool
Reorder Multiple Layers
•
Color .png brush support
•
Translate multiple layers
•
Maximum brush width increased to 256
•
Copy and paste bones across layers
•
•
Improved quality for on-canvas image layers. Better Alpha blending
A more hand-drawn line effect , accessible through the layers tab
or scripts
•
Animated layer effects must now be turned on manually
•
Improvements to Gradient fill effect: Dragging sliders, setup multiple
colors to create complex gradients. Gradients are animated now.
•
Animatable shape effects on styles palette
•
Some fill and line effects can display on-canvas, such as Gradient,
images textures and shaded.
•
Image Texture fill effect conforms better to bone warping and layer
Introduction
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Anime Studio
Users Manual
•
transforms
•
Timeline channels only show when they are actually used
Removed obsolete fill and line effects
•
Right-drag in the time ruler to edit timing offsets
•
Onion skins need to be manually enabled - helps avoid doing it
accidentally
•
In timeline, minimize how much it automatically scrolls to the
current frame
•
Timeline buttons to navigate to previous/next keyframe
•
Default interpolation is now set in the main Preferences dialog
•
Preference to show all animation channels consolidated into one
•
Animated layer effects must now be turned on manually
•
When rendering the current frame, saving as PNG saves an alpha
channel
Audio and Video
•
Anime Studio Debut: Sequencer with 2 Audio Tracks, 1 Video Track
•
Anime Studio Pro: Sequencer with Multiple Audio Tracks and
Multiple Video Tracks
•
Audio Panning
•
HD Video Import; HD Video Export in Anime Studio Pro Only
•
Video support improved: Footage is reinterpreted during import,
and audio is imported.
•
•
Movies may be opened directly in Anime Studio, with proper
dimensions, duration, and frame rate. Good for doing tracking right
away, or for working on a video composite project
Lip Sync
Video Features Tracking, allowing you to track bones (base, tip, or
both)
•
Integrated LipSync
•
AST production sync lib in Pro Only
Animation
•
Debut version uses amplitude only.
•
Non-Linear Animation
•
PapaGayo can still be used as always.
•
Scale keyframes: Select keys, Alt+Click and drag on timeline to
rescale
Introduction
Anime Studio
Users Manual
Morph Targets
•
Pro can be used to create morph targets
•
Debut can use and blend morph targets, but has no setup tools.
Import and Export
•
Upload to Youtube
•
Improved Illustrator import --Now the paths are parsed much
better and match what is in illustrator.
•
Fixed a problem with darkened (or lightened) transparent edges on
PNG files
Motion Tracking
•
Debut can track 3 points
•
Pro can track unlimited points
Rendering
•
2D Screen Space Ambient Occlusion
Introduction
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Anime Studio
Users Manual
License
You may also make one copy of the Software in machine readable form
solely for backup purposes. As an express condition of this EULA, you
must reproduce on the backup copy the SmithMicro copyright notice in
the following format:”(C) 2004-2009 SmithMicro Inc.”
Anime Studio License Agreement
2. Restrictions The Software contains trade secrets in its human readable
form and, to protect them, YOU MAY NOT REVERSE ENGINEER,
DECOMPILE, DISASSEMBLE, OR OTHERWISE REDUCE THE SOFTWARE
TO ANY HUMAN READABLE FORM. YOU MAY NOT MODIFY, ADAPT,
TRANSLATE, RENT, LEASE, LOAN, RESELL FOR PROFIT, OR CREATE
DERIVATIVE WORKS BASED UPON THE SOFTWARE OR ANY PART
THEREOF.
End User License Agreement (EULA) and Limited Warranty PLEASE READ
THIS EULA CAREFULLY BEFORE OPENING ANY COMPUTER READABLE
MEDIA PACKAGE(S). BY OPENING ANY COMPUTER READABLE MEDIA
PACKAGE(S), YOU AGREE TO BECOME BOUND BY THE TERMS AND
CONDITIONS OF THIS EULA.
1. Grant of License The enclosed computer program (The “Software”)
is licensed, not sold, to you by SmithMicro, Inc. (“SmithMicro”) for
use only under the terms and conditions of this EULA, and SmithMicro
reserves any rights not expressly granted to you. You own the compact
disk on which the Software is recorded or fixed, but the Software
is owned by Lost Marble, Inc. & SmithMicro and is protected by the
copyright laws of the United States and international copyright treaty
provisions.
The copyright restrictions of this EULA extend to any further updates,
software patches, or bug fixes made available to you by SmithMicro,
whether distributed on floppy disk, compact disk, or in an electronic
format via download, BBS, forum, ftp, e-mail, etc. You may use one
copy of Anime Studio 6 on a single computer at a time. To “use” the
Software means that the Software is either loaded in the temporary
memory (i.e., RAM) of a computer, or installed on the permanent
memory of a computer (i.e., hard disk, compact disk, etc.).
The Software is protected by the copyright laws of the United States.
License
3. Termination This EULA will terminate immediately without notice from
SmithMicro or judicial resolution if you fail to comply with any provision
of this EULA. Upon such termination you must destroy the Software,
all accompanying written materials and all copies thereof. You may
also terminate this EULA at any time by destroying this Software, all
accompanying written materials and all copies thereof.
4. Export Law Assurances This Software is subject to restrictions and
controls imposed by the Foreign Exchange and Foreign Control Law,
Export Trade Control Ordinance, and any other related regulations
(referred together as “Regulations” hereafter). You acknowledge and
agree that neither the Software nor any direct product thereof is being
or will be shipped, transferred or re-exported, directly or indirectly,
into any country prohibited by the Regulations, or will be used for any
purpose prohibited by the Regulations.
5. Limited Warranty and Disclaimer, Limitation of Remedies and
Damages YOU ACKNOWLEDGE THAT THE SOFTWARE MAY NOT
SATISFY ALL YOUR REQUIREMENTS OR BE FREE FROM DEFECTS.
Anime Studio
Users Manual
SmithMicro WARRANTS THE MEDIA ON WHICH THE SOFTWARE
IS RECORDED TO BE FREE FROM DEFECTS IN MATERIALS AND
WORKMANSHIP UNDER NORMAL USE FOR 90 DAYS FROM PURCHASE,
BUT THE SOFTWARE AND ACCOMPANYING WRITTEN MATERIALS
ARE LICENSED “AS IS.” ALL IMPLIED WARRANTIES AND CONDITIONS
(INCLUDING ANY IMPLIED WARRANTY OF MERCHANTABILITY OR
FITNESS FOR A PARTICULAR PURPOSE) ARE DISCLAIMED AS TO THE
SOFTWARE AND ACCOMPANYING WRITTEN MATERIALS AND LIMITED
TO 90 DAYS AS TO THE MEDIA. YOUR EXCLUSIVE REMEDY FOR BREACH
OF WARRANTY WILL BE THE REPLACEMENT OF THE MEDIA OR REFUND
OF THE PURCHASE PRICE. THE ABOVE WARRANTIES ARE EXCLUSIVE
AND IN LIEU OF ALL OTHER WARRANTIES, EXPRESS OR IMPLIED,
AND SmithMicro EXPRESSLY DISCLAIM ALL OTHER WARRANTIES,
INCLUDING ANY IMPLIED WARRANTY OF MERCHANTABILITY, FITNESS
FOR A PARTICULAR PURPOSE, OR NON-INFRINGEMENT. NO ORAL
OR WRITTEN INFORMATION OR ADVICE GIVEN BY SmithMicro, IT’S
EMPLOYEES, DISTRIBUTORS, DEALERS, OR AGENTS SHALL INCREASE
THE SCOPE OF THE ABOVE WARRANTIES OR CREATE ANY NEW
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FOR ANY CONSEQUENTIAL, INCIDENTAL OR INDIRECT DAMAGES
(INCLUDING DAMAGES FOR LOSS OF BUSINESS PROFIT, BUSINESS
INTERRUPTION, LOSS OF BUSINESS INFORMATION, AND THE LIKE),
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AUTHORIZED SmithMicro REPRESENTATIVES HAVE BEEN ADVISED OF
THE POSSIBILITY OF SUCH DAMAGES.
The above limitations will not apply in case of personal injury only where
and to the extent that applicable law requires such liability. Because
some jurisdictions do not allow the exclusion or limitation of implied
warranties or liabilities for consequential or incidental damages, the
above limitations may not apply to you.
6. Content Distribution A. As used in this section, the term “Restricted
Content” means all files and data included with or part of the Program
including but not limited to: - Included files in all proprietary Program file
formats (MOHO, ANME and any subsequent/compressed formats).
•
Included images (including but not limited to materials, texture and
transparency maps).
•
Included documentation.
•
Included scripts.
•
Restricted Content extracted or exported from the Program remains
Restricted Content except as expressly permitted by this agreement.
B. Third-party content included with Program and Documentation is
copyrighted and owned by the original content creators.
C. The Company claims full ownership and copyright rights to all
Company-created Restricted Content and all derivatives of these files
which are not expressly permitted by this agreement.
D. You cannot sell, resell, distribute, cause to be distributed, or allow
any portion of the Restricted Content to be distributed under any
circumstances, via any public or private medium, except where expressly
permitted by this EULA and US copyright law, without the Company’s
prior written consent, a copy of which must be furnished with all
Restricted Content distributed in accordance with this section. You may
only use the Restricted Content for exclusive use on one computer unless
License
7
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Anime Studio
Users Manual
authorized within this EULA and/or the contents of the Company’s
official written consent.
E. You may copyright and distribute rendered still or animated images
derived from the Restricted Content without restriction or royalty to
Company provided you do not violate other clauses of this agreement.
F. If you purchased a Site License, you may distribute the Restricted
Content between all computers containing valid copies of the Program,
other Company products, and/or other software able to process
Restricted Content.
G. You may use and distribute the Allowed Content in accordance with
all applicable license terms imposed by the content’s original creator. The
Company does not enforce third-party rights.
H. The purpose of defining certain content as Restricted Content is
to protect the Company’s investment, interests, and ownership of
Restricted Content. It is not the Company’s policy to unreasonably
restrict or inhibit any third party’s creative or commercial activities. The
following are Legitimate Uses of Restricted Content: - Creating tutorials,
books, or other educational materials using images of Program interface
for sale, distribution, public display, etc., provided they are intended to
educate users as to use of the Program, or when used under the “fair
use” guidelines of US copyright law. Any other use of images of the
Program interface must be approved by the Company’s prior written
consent. - Creating original content for Restricted Content for sale,
distribution, public display, etc. - Creating materials for use with either
Restricted or Allowed Content. - Creating characters or props based on
Restricted Content in proprietary file formats, where the original art,
texture, or other Restricted Content Files are not distributed with said
characters, props, scenes.
License
J. As part of the legitimate uses for Restricted Content outlined above,
you may reproduce, distribute, sell, copyright, publicly display, and
publicly perform using Restricted Content provided that such activity is
limited to the Legitimate Uses enumerated above and does not violate
any other clauses in this agreement and/or applicable US copyright laws.
7. U.S. Government Restricted Rights The Program and The
Documentation are provided with restricted rights. The use, duplication,
or disclosure by the United States Government is subject to restrictions
as set forth in subparagraph (c)(1)(ii) of the Rights in Technical Data and
Computer Software Clause at DFARS 252.227-7013 or subparagraph
(c)(1) and (2) of the Commercial Computer Software Restricted Rights
at 48 CFR 52.227-19, as applicable. The Contractor/Manufacturer is
SmithMicro Inc.
8. Applicable Law The laws of the state of California govern this EULA,
except that federal and international law governs copyrights, patents,
and registered trademarks. Should any court having appropriate
jurisdiction find any provision of this EULA invalid, that particular
provision will be deemed null and void and will not affect the validity of
any other provision of this EULA.
9. Contact Information
If you have questions concerning this EULA or need to contact Customer
Service, please contact Company at this address:
SmithMicro Inc. 185 Westrdge Drive Watsonville, CA 95076 USA
(831) 761-6200 phone (831) 761-6206 fax Customer Service (returns,
warranty): [email protected] Legal (EULA questions, illegal
activity reporting): [email protected]
10. Copyright & Trademark Notice SmithMicro Inc., and Anime Studio
Anime Studio
Users Manual
6 , are trademarks of SmithMicro Inc. Lost Marble, Inc., Moho 6 , are
trademarks of Lost Marble, Inc. All other product names mentioned in
the Program, the Documentation, or other documentation are used
for identification purposes only and may be trademarks or registered
trademarks of their respective companies. Registered and unregistered
trademarks used herein are the exclusive property of their respective
owners.
License
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Anime Studio
Users Manual
Anime Studio
Tutorials
In this section, we will walk you through various aspects of using
Anime Studio. This is the perfect place to start if you’ve never used
Anime Studio before. Even if you’re an experienced Anime Studio user,
this version of Anime Studio has some big changes, so we recommend
reading through the tutorials again.
The best way to get started is to read all the tutorials in the Basics
section in order. Each of these tutorials builds on skills learned in the
earlier ones, and one-by-one will get you up to speed with Anime
Studio’s basic drawing and animation techniques. Once you’re
comfortable working in Anime Studio, then you can move on to the
other tutorial sections. You don’t have to read them all (although that
probably wouldn’t hurt), but choose the ones that address the specific
techniques you want to learn about.
Finally, all of the Anime Studio files created or used by the tutorials
have been installed along with Anime Studio itself. You can find them by
going to the Anime Studio program folder, and looking for the Tutorials
sub-folder. If you’re having trouble with a tutorial, try opening the
corresponding Anime Studio file to see what it should look like.
Once you’ve finished the tutorials, you should be comfortable enough to
continue on your own. However, the tutorials won’t teach you how to
use every feature of Anime Studio - the rest of this manual is a reference
that covers Anime Studio’s features in detail, and is recommended
reading to be able to use the full power of Anime Studio.

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Tutorial 2.1: Welding
As you learned in the Quick Start tutorials, Anime Studio features an
Auto Weld feature that automatically welds shapes and segments
together when your cursor reaches a point that you can weld to.
However, there are cases where you may want to manually weld points
together.
When drawing in Anime Studio’s vector layers, the concept of “welding”
points is very important. These tutorials will show you examples of how
(and why) points can be welded, and will go on to show you some
examples of good and bad welds you can do in Anime Studio.
When you weld two points together in Anime Studio, Anime Studio
really is combining those two points into one. There are a couple
reasons to do this: First, welding the two endpoints of a curve together
creates a closed curve. Second, if two shapes join up at a particular
point, and you want them to remain joined during an animation, then
welding those points together will guarantee that those two shapes will
remain joined.
Translate Points
Auto-weld option unchecked.
Drag one point on top of the other and press the spacebar. Here’s an
example of this method. Although you can’t see the keyboard in the
example, keep in mind that the spacebar was pressed at the moment
when the two points overlap. After welding, notice how the two points
move as one.
How to Weld Points
There are two ways to weld points in Anime Studio: manually and
automatically. To manually weld two points together with the Translate
Points tool, first uncheck the Auto-weld option for the tool.
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options area when the Translate Points tool is active:
Make sure Auto-weld is on.
Using this method, when you drag a curve endpoint on top of another
point , the point turns green when it can be welded automatically. Let go
of the mouse to automatically weld the points together.
Here’s an example of automatic welding. In this case, the spacebar was
not pressed to initiate the weld - as soon as the mouse is released, the
two overlapping points are automatically welded together.
Welding Example 1. (SWF File)
Before spacebar is pressed (left). After spacebar is pressed (right).
The second method of welding is automatic. For automatic welding to
work, be sure that the “Auto-weld” checkbox is turned on in the tool
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Automatic welding also works with the Add Point tool.
Automatic welding.
Here’s another example of automatic welding. Remember that only a
curve endpoint can be automatically welded. However, the point that it
is welded to does not need to be an endpoint:
Add Point
When you add a new point, you can drag it around as if you were using
the Translate Points tool. As long as the new point you added is a curve
endpoint, it can be automatically welded to another point. If the new
point is not an endpoint, you can still weld it to another point manually
by pressing the spacebar when it overlaps another point.
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Add Point tool with Auto-weld option on
Besides welding two points together, Anime Studio can weld a point
to the middle of a curve segment. This can be done with either the
automatic or manual welding methods. Here’s an example:
Welding to a curve segment.
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Why to Weld Points
OK, so that covers welding points, but why do you want to weld points
again? Well, the main reason is to create fillable shapes. In order to fill a
shape with color, that shape needs to be completely closed. This is only
possible if you weld some points together. The following shape cannot
be filled with color because it is not closed:
A closed shape that can be filled.
Examples of Good Welding
Let’s look at some examples of good welding choices. First, the
following two points could be welded to create a single, continuous
curve:
A non-closed shape.
By welding the two endpoints together, we can create a closed shape
that can then be filled:
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Joining two curves.
The next case shows the classic case of welding a curve closed to create
a fillable shape:
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Closing a curve.
Next, we show a shape made up of several curves. Notice that a closed,
fillable shape does not need to be made up of a single curve. The shape
below, after welding, is made up of three curve segments, but is still
closed and can be filled with color:
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Finally, the example below shows two circles lined up side-by-side. The
two side points of the circles have been welded together so that when
they move around during an animation they remain joined. If those
points were not welded, moving them in sync like this would require a
lot of extra work.
Joining multiple curves into a single closed shape.
Joined circles (SWF File).
Examples of Bad Welding
The welded and filled shape.
Typically, when you weld together two points, one of them should be
a curve endpoint. This isn’t always true, but most often it is. If you find
yourself welding together two points and neither is an endpoint, take a
moment to think whether the weld is appropriate. Here’s an example of
a bad choice of welding. Suppose you had the following two shapes and
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you were considering welding the pairs of circled points:
Bad welding.
Before welding the marked points.
Although Anime Studio will let you perform those welds, it isn’t really a
good idea. What you would end up creating is a shape with lots of little
holes in it. Along the section of curves that you welded together are little
bubbles that make it impossible to fill the two main shapes:
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Instead, a better approach is to just move the two shapes closer
together without any welding at all. In this case, welding the two shapes
together doesn’t have any benefit.
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Fill the shapes without welding them together.
Cut the redundant curve away.
Then, weld the newly-created endpoints onto the lower shape. With this
approach you don’t end up with a double curve all welded together. The
resulting shape is much cleaner and easier to work with:
Delete Edge
Another approach in this situation would be to cut the top shape apart
with the Delete Edge tool and then weld the remaining endpoints to
the lower shape. First, cut the top shape apart:
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Reminder of Fill Rules
Create Shape
As a reminder, let’s consider the rules for creating a fill shape: A fill must
be composed of closed curves that define the border of the shape. So, as
an example, below is a valid fill shape.
Weld the new endpoints.
Tutorial 2.2: Drawing Shapes with
Holes
Drawing shapes with holes is very easy in Anime Studio, but many new
users don’t realize that this can be done. There’s really no trick at all just follow the basic rules for creating a fill.
A basic fill shape.
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Creating Holes
So a fill shape is defined by the curves on its border. If we want to create
a hole, then all we need to do is create curves that outline the shape
of the desired hole(s). Below we’ve added some extra curves before
creating a fill shape:
Notice that Anime Studio automatically identifies the inner curves as
borders of holes in the shape. There’s nothing in particular you have to
do, just draw the holes and Anime Studio will know what to do with
them. When you’ve selected all the correct points, press the spacebar to
finalize the shape.
Selected points for filling.
New curves added.
Finally, here is the resulting shape. (The Line Width tool was used to
narrow the width of the outline at the corner points.)
Create Shape
Once you’ve set up curves to define the shape of the hole, all you need
to do is select the outline and the hole(s) using the Create Shape tool.
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Tutorial 2.3: Hidden Edges
When drawing more complex objects like faces, you will often run into
situations where you want an outline to only go partway around a
shape. There’s an easy way to accomplish this in Anime Studio.
Start With a Sample File
The finished shape.
For this tutorial, we’ll start with a project file that’s almost finished.
It’s named “Tutorial 2.3” and it’s located in the “Tutorials/2 - Draw”
subfolder within the main Anime Studio folder. Open this file in Anime
Studio and you should see something like this:
Here’s another example of a shape with a hole:
Another shape with a hole.
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Starting point for this tutorial.
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Hidden Edges
The drawing we’re working with could be the beginning of a character’s
face. In this face, the nose and ear are separate shapes from the main
head outline. The general shape looks OK, but where the separate parts
join up we don’t want to have lines separating them. To fix this, activate
the Hide Edge tool.
Hide Edge
Edges to click on.
There are two edges we want to eliminate from this drawing. Click on
these two edges as shown below. If you don’t see an immediate result,
try dragging the mouse across the lines in question to make sure you
hit them.
After clicking on these edges, they should disappear from view, and the
result should be as follows:
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Finishing Touches
If you hide the edges of a thicker line, you’ll often end up with abrupt
ends to the outline. You can see this below:
After hiding the edges.
The Hide Edge tool works by simply hiding the selected edges of an
outline. It does not affect the underlying curve - the curve is still there,
you just can’t see the outline on that particular section of the curve.
Because it works on the outline, and not the curve itself, be sure you only
use the Hide Edge tool after you’ve created the outlines. Otherwise,
with no outline, you would not see the result of hiding some edges.
Blocky curve ends.
The other thing to know about the Hide Edge tool is that you can also
un-hide edges. If you change your mind, or hide the wrong edges, just
click on a hidden edge to re-show it.
Line Width
A nice way to finish off these endpoints is to use the Line Width tool.
With this tool, click on the endpoints to set their width to 0. You can also
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click and drag to adjust the width of any other points you choose. After
cleaning up the endpoints, you should get a result like this:
It’s named “Tutorial 2.4” and it’s located in the “Tutorials/2 - Draw”
Studio, and you should see something like this:
Tapered endpoints.
Tutorial 2.4: Shape Ordering
In an Anime Studio vector layer, shapes are ordered from back to front.
This ordering determines which shapes will appear in front of or behind
others. This tutorial will show you how to work with shape ordering.
As you can see, there are four shapes in this file. By the way they overlap
one another, you can also tell their ordering. From back to front, there is
a red shape, a green shape, a blue shape, and a yellow circle.
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Raising and Lowering Shapes
Select Shape tool.
If you want to change the order of some shapes, the first thing you
need to do is select a shape to work with. Using the Select Shape
tool, click anywhere on the red shape. It will become highlighted with a
checkerboard to indicate that it is selected. Notice that you can also see
it faintly beneath the other shapes - this is so that you can see the entire
selected shape, even if it is normally obscured by other shapes.
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Selected shape highlighted.
To raise the shape, press the Up arrow key on your keyboard. Notice that
the red shape has now moved one step up in the layer order, above the
green shape:
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Raised shape.
Right now, press the enter key to de-select all objects in the layer. The
red shape will switch back to normal to indicate that it is not selected:
De-select the shape.
Next, use the Select Shape tool and click on the blue shape to select
it.
Select Shape tool.
Press the Down-arrow key twice to lower the blue shape below the red
shape, and then below the green shape:
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Lowered blue shape.
You can also raise a shape to the top (above all others in that layer) or
lower it to the bottom (behind all others in that layer). Select the green
shape and hold down the Shift key while pressing the Up-arrow key.
With a single key press, the green shape moves all the way to the top of
the layer’s shape order.
Hidden yellow circle.
Now we want to bring the yellow circle back to the front. Using the
Select Shape tool, click on the yellow circle, even though it’s hidden.
Selecting Hidden Shapes
If you now press the enter key, the green shape will be de-selected.
Notice that at this point the yellow circle is behind the green shape, and
can’t be seen. You can still see the curves that make up the yellow circle,
but the shape itself, being behind the green shape, is not visible:
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Select Shape tool.
As you may have expected, the green shape gets selected because it is
in front:
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Selected green shape.
Now comes the trick for selecting shapes lower in the ordering. Hold
down the Ctrl key while pressing the down-arrow key. This tells Anime
Studio to pick the next deeper shape in the layer ordering at the same
point you just clicked. The yellow circle will now be selected. It will be
kind of faint to remind you that it is actually behind other shapes in the
layer:
Selected yellow circle.
Finally, hold down the Shift key while pressing the up-arrow to bring
the yellow circle all the way to the top of the layer ordering, making it
fully visible once again:
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Draw Some Freehand Curves
Freehand
Raised yellow circle.
Tutorial 2.5: Brushes (Anime
Studio Pro Only)
Anime Studio allows you to apply brush effects to outlines if you choose.
It’s really easy to use brushes, and this tutorial will show you how.
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Start with a new, blank file in Anime Studio. In the Style window, set
the line width value to 16. Next, activate the Freehand tool. In the tool
options area at the top of the main Anime Studio window, adjust the
settings for the Freehand tool to match those shown below:
•
Pixel Tolerance: 32
•
Angle Tolerance: 10
•
Variable Line Width: Use Pen Pressure
•
Min Width: 1
•
Max Width: 8
•
Taper Start: Checked
•
Taper End: Checked
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Freehand curves.
Because of the line width set in the Style window, these curves should
be rather thick. The tapering settings in the Freehand options should
make the ends of these lines taper down to narrow points. If you select
File > Preview now, the result should look pretty much like what you
see in the editing view:
Freehand settings.
Draw two or three curvy lines using the Freehand tool in the editing
view:
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Rendered curves.
Close the rendering window, and use the Select Shape tool to select
one of the curves:
Selected curve.
In the Style window, click on the box that currently says “No Brush”.
Select Shape
No Brush.
In the brush dialog that appears, select one of the brush shapes that
interests you - you’ll see a preview of the brush at the bottom of the
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dialog:
Rendered curves.
Try applying other brush shapes and Stroke colors to the other curves:
Brush dialog.
Click OK to close the brush dialog, and select File > Preview again. In
the rendered result you can see the applied brush shape:
Different brush shapes.
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If you notice that your brush effects are not visible until you render or
export your animation (brush shapes are not possible when exporting
to SWF format), you can change the display quality to show the effects.
during editing. In the lower-right corner of the main Anime Studio
window is the “Display Quality” popup box. Click this box to open it.
Turn on the “Brushes” checkbox. This will turn on brushes in Anime
Studio’s editing view:
Brushes in editing view.
Displaying brushes while editing requires a lot of computation and can
slow Anime Studio down, so it’s best to use this as a kind of preview, but
not to leave it on all the time. When you’ve got the brushes how you like
them, switch this display option back off.
Tutorial 2.6: Layer Masking
Turn on Brushes preview option.
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This tutorial is more of a show & tell than a hands-on creation of an
animation. We will demonstrate some examples of a powerful feature of
Anime Studio - layer masking. Layer masking can be used for all kinds of
effects such as shadows, compositing, depth effects, transitions, and to
simplify certain modeling and animation tasks.
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For this tutorial, we’ll start with a project file that’s almost finished. It’s
named “Tutorial 2.6” and it’s located in the “Tutorials/2 - Drawing”
Studio, expand the “Masking Group” layer in the Layers window, and
you should see something like this:
Spotlights shining across the hole.
This is a simple scene of a wall with a hole broken through it (a jailbreak
maybe?). Set the current time to frame 24, and choose the File >
Preview menu command. Notice how the spotlights spread across the
hole as if it were a flat object as shown below:
To make the spotlights more realistic, we can use Anime Studio’s
masking feature. Double-click the “Masking Group” layer. In the Layer
Settings dialog that appears, go to the “Masking” tab and set the
“Group Mask” setting to “Hide all” as shown below and click OK.
Mask setting for the “Masking Group” layer.
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In the editing view, you’ll notice that the wall and spotlights have
disappeared from view. This is because the masking mode we just set
hides all objects in the group - we’ve got a bit more work to do:
Mask setting for the “Wall” layer.
Everything in the group is hidden
The next step is to define which parts we actually want to see. Doubleclick the “Wall” layer to bring up the Layer Settings dialog. In the
Masking tab, set the “Layer masking” value to “+ Add to mask” as
shown below and click OK:
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What we’ve done is tell Anime Studio to add the contents of the Wall
layer to the visible region of all objects in the group. No other layers in
the same group will be allowed to draw outside this visible region (the
mask). If you temporarily turn off the “Background” layer, you’ll see
that there is an actual hole in the wall. Because the wall acts as a mask,
the spotlights cannot draw themselves in this area. You’re welcome to
render out the entire animation as a QuickTime movie to see the full,
animated effect.
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The wall acting as a mask.
Another Example - Simplified Modeling
Now open the file “Tutorial 2.6_2”. Take a look at the masking group
in this project (in this case, the masking function is already turned on).
In this example, the eyes are used as a mask, and the eyelids are forced
to render themselves only inside the eyes. This makes it much easier to
construct and animate the eyelids, without having to worry about them
spreading outside the eye region - with a mask layer, they can’t.
Another Example - Transition Effect
Finally, open the file “Tutorial 2.6_3”. This project uses a mask layer
to cause a text object to fade into existence. Play back the animation,
or export it as a QuickTime movie, then play back the movie. In
this example, a variation of the masking feature is used: the mask
itself doesn’t have to be visible. In this case, the mask is a rectangle
that gradually exposes the text, but we don’t really want to see the
rectangle. To use an invisible mask, the Mask layer uses the “+ Add to
mask, but keep invisible” option in the Masking tab.
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To start off, we’ll take a look at an Anime Studio file that already
contains some styles. It’s named “Tutorial 2.7” and it’s located in the
“Tutorials/2 - Drawing” subfolder within the main Anime Studio folder.
Open this file in Anime Studio, and you should see something like this:
Tutorial 2.7: Styles (Anime Studio
Pro Only)
In this tutorial we’ll introduce Anime Studio’s “style” feature. A style in
Anime Studio is a set of shape properties, including fill and line color,
line width, fill effects, etc. Once you’ve defined a style, you can apply it
to as many shapes as you wish. The benefit to this is that later on you
can easily change the color and appearance of those shapes just by
changing a single style.
(Don’t worry that the character is all split apart. This is part of the bone
setup described in another tutorial. If you want to try switching to frame
1, you’ll see that the character snaps back together. Just be sure to go
back to frame 0 before continuing.)
Let’s see what a style is all about. In the Style window, display the
Advanced settings by clicking the Advanced option.
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Select “Skin” from the Styles popup menu. The Skin style will become
selected in the Style window:
The skin style selected.
Click the “Fill color” color selector to change the Skin fill color. Pick
any color you wish. Notice that the skin color updates instantly on all
the body parts of the character, even though they are separate shapes
and in several separate layers. Styles can be used throughout an entire
Anime Studio project, and are not limited to the shapes in a single layer.
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Modified skin color.
If we look at the Style window, there are three things to notice about the
Skin style:
1: The Skin style defines a fill color. 2: The Skin style does not define
a line color. 3: The Skin style does not define a line width. Because
the Skin style does not define a line color or width, changing these
parameters will not affect the shapes that use this style.
Skin style settings.
Let’s try a style that does control the properties of a line. Select the
Outline style from the Styles popup menu in the Style window. Notice
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that this style does define a line color and width, but does not define a
fill color. Change the Line Color to green and Line Width to 8 as shown
below, and assign a brush to the line:
entire character. Regardless of their other settings (like fill color), all the
shapes use the Outline style to draw their outlines:
New Outline style.
How Styles Are Applied
Modified Outline style.
Now let’s take a look at how styles are created and applied. Create a
new Anime Studio project file. In the Style window, select New from the
Styles popup menu.
Notice that the Outline style has been applied to all the shapes in the
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The Style window will now be editing the values for that style. Give the
style a name (any name), and choose a fill and line color. Finally, set the
line width to 8 or so. If you want to, you can also assign a brush and fill
and line effects.
Creating a new style.
Next, create a simple shape in the main window - a circle, rectangle, or
text object would be fine. Make sure that the shape is filled.
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Create a simple shape.
Applying a style to a shape.
That’s it! As you’ve seen, it’s quite easy to create and apply styles in
Anime Studio.
Select Shape
If you want to apply a style to any other shape, use the Select Shape
tool to click on your shape to select it. The Style window will update
itself to show you the properties of the selected shape. Select your style
from the Styles popup menu. This tells Anime Studio to apply that style
to the currently selected shape - you should see the properties of your
style applied immediately in Anime Studio’s editing view.
Tutorial 2.8: Simple 3D
Construction (Anime Studio Pro
Only)
Anime Studio is primarily a 2D program, although it does have some
3D tools for positioning the camera and individual layers. Still, even
if you position layers in a 3D landscape and fly around them with the
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camera, each vector layer is really just a 2D plane in a 3D space. There
is no way in Anime Studio to model general 3D objects, but it is possible
to fake out some simple ones. This tutorial will show you how to build a
simple cube in Anime Studio. If you need a more complex 3D shape, you
can import a 3D object file created in a separate 3D modeling program
(described in another tutorial).
Start With a Blank File
For this tutorial, start with a new, blank project in Anime Studio. The
completed file is also available for you to examine if you wish. It’s named
“Tutorial 2.8” and it’s located in the “Tutorials/2 - Draw” subfolder
within the main Anime Studio folder.
It’s important that the square be precise. Choose the View > Enable
Grid command to turn on the grid. This will help you draw this square.
The square must be centered at the layer origin, must be truly square
(not a rectangle), and should touch the top and bottom of the
viewable area exactly. To draw the square, press the Alt and Shift keys
concurrently, and click at the layer origin point. The Alt key will draw the
square outward from the point at which you clicked, and the Shift key
will constrain the rectangle to create a square with four equal sides.
What’s important for this square is that the corners are at (-1, 1), (1, 1),
(1, -1), and (-1, -1) as shown in the following figure.
Don’t worry too much about the coordinates - if you use the grid, center
the square at the origin, and make sure the top and bottom touch the
top and bottom of the viewable area, the corners will be correct.
Creating The Faces
The first step is to create the faces of the cube. In the initial, empty layer
of your new project, use the Draw Shape tool to draw a square.
Draw Shape
Start with a square.
You can optionally enter the coordinates manually in the tool options
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area.
You can manually enter coordinates in the Tool Options area.
Fill the square with a color of your choice and set its line width to 2.
In the Layers panel, click the New Layer button. Create a Group layer,
name it “Cube”, and put the layer with the square inside it. Duplicate
the square layer five times and you should have a setup that looks like
this:
Arranging the layers.
Positioning Faces
Select the lowest layer in the group, “Layer 1”, and make the Translate
Layer tool active.
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Layer 3 depth setting
Next, activate the Rotate Layer XY tool.
Translate Layer
We’re not going to actually use the Translate Layer tool, but making it
active allows us to position a layer numerically. At the top of the main
Anime Studio window, in the tool options area, set the value of “Z” to
1. This changes the depth of the layer, bringing it forward toward the
camera.
Layer 1 depth setting.
Now select “Layer 2”, and set its Z value to -1. You’ve just positioned
the front and back faces of the cube.
Layer 2 depth setting
The settings get a little more complex from here on out. Select “Layer
3”, and set its X and Y values to 1 and 0.
Rotate Layer XY
The tool area will reflect the rotation of the layer around the Y axis. Set
this value to 90:
Layer 3 rotated.
Next up is “Layer 4” - adjust it similarly to Layer 3. Set X and Y to -1 and
0, and set the layer Y rotation to 90. You’ll need to activate the Translate
Layer tool to set X and Y, and the Rotate Layer Y tool to set the rotation
angle.
Layer 4 Depth Setting
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Layer 4 Rotation Setting
At this point the cube is basically finished, but it’s a little too big to see
in the workspace. Use the Scale Layer tool on the “Cube” group layer
to make the entire thing a bit smaller.
“Layer 5” is next - set its X and Y position to 0 and 1. Next, activate the
Rotate Layer XY tool and set the rotation angle to 90 degrees. Note:
Be sure to rotate this layer around the X axis, not the Y axis.
Scale Layer
It should look something like this:
Finally, the last layer, “Layer 6” - adjust it similarly to Layer 5. Set X and
Y to 0 and -1, and set the layer X rotation to 90. You’ll need to activate
the Translate Layer tool to set X and Y, and the Rotate Layer X tool to set
the rotation angle.
The finished cube.
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Depth Sorting
The final step required to finish the cube is to turn on depth sorting.
Double-click the “Cube” layer to bring up the Layer Settings dialog. In
the “Depth Sort” tab, turn on the checkboxes marked “Sort layers by
depth” and “Sort by true distance” and click OK. The first checkbox tells
Anime Studio to draw the back faces of the cube first, then the front
ones. The second checkbox is a different way of sorting the layers that is
mostly used for 3D constructions like this cube.
Try using the Orbit Workspace tool to view the cube from different
angles. It should appear as a true 3D object.
Orbit Workspace
You could now use the cube in a scene - using the Translate Layer and
Rotate Layer tools to position it at an interesting angle, or to move it
around during the animation.
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The finished cube, with depth sorting.
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Bones
Tutorial 3.1: Bone Binding
The purpose of bones in Anime Studio is to provide high-level objects
that are easy to manipulate in place of moving around lots of individual
points. In order for bones to do their job, vector control points and other
objects must first be bound to the bones. There are three ways to bind
objects to bones: automatic binding, manual binding, and layer binding.
This tutorial will show you the difference between the three.
For this tutorial, we’ll start with a project file that contains some
artwork to get started with. It’s named “Tutorial 3.1” and it’s located in
the “Tutorials/3 - Bones” subfolder within the main Anime Studio folder.
Open this file in Anime Studio, and you should see something like this:
Automatic Binding
The most common method of binding objects to bones is also the
easiest - automatic bone binding. Whenever you draw new artwork in
Anime Studio (or import image files as image layers), those objects are
set up for automatic bone binding. All you need to do is add the bones.
In the Layers window, click the New Layer button, and select “Bone”
from the popup menu.
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Create a new Bone layer.
Double-click the new bone layer to bring up the Layer Settings dialog.
Name the new layer “Arm Bones” and click OK. Finally, drag the “Arm”
vector layer upward to move it into the bone layer:
Add Bone
In the main editing view, create two bones: the first one starting at the
shoulder and ending at the elbow, and the second starting where the
first left off and ending in the hand. And that’s all it takes for automatic
bone binding.
Arm layer placed inside a bone layer.
Make sure the bone layer is selected, then activate the Add Bone tool.
Create two new bones.
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Use the Manipulate Bones tool to try moving the bones around.
The arm will move with the bones automatically, since it was, well,
automatically bound to them.
Manipulate Bones
Double-click the bone layer to bring up the Layer Settings dialog. Go to
the Bones tab, set the binding mode to “Region binding”, and click OK:
Turn on region binding.
Flexible binding (the default for new bone layers) uses a method of
bone binding where every bone has some influence over every point in
a vector layer. The farther away a point is from a bone, the less influence
that bone has over the point. However, you can still experience some
rubbery movement where a moving arm can cause a toe to twitch a
little bit.
With region binding, on the other hand, every bone has a cutoff radius,
outside of which it will not affect the movement of vector points. This
can be used for cleaner movement, but requires a little extra setup. Now
that region binding is in effect, activate the Bone Strength tool.
Test moving the bones.
This arm setup works pretty well as it is, but let’s try to refine it a bit.
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Bone Strength
Around each bone you will see its region of influence. Vector points are
controlled by the bone(s) whose regions overlap them. If a vector point
is not within any region of influence, it will move with the closest bone.
Using the Bone Strength tool, click and drag on each of the bones to
resize its region of influence. The idea is to make the regions just large
enough to contain the body part that the bone is meant to control:
Resized regions of influence.
Don’t worry about the parts of the forearm that are outside the forearm
bone’s region of influence - they will just move with the closest bone,
which is in fact the forearm.
Use the Manipulate Bones tool again to try moving the arm. The
movement should be a little cleaner than it was with flexible binding.
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Manipulate Bones
Select Bone
Manual Binding
Manually binding points to bones is a process that exists mostly for
compatibility with older versions of Anime Studio. Automatic binding,
combined with bone regions of influence is the easiest way to work with
bones in Anime Studio. However, there may be some times where you
want more control over exactly which bones control which points.
To manually bind the arm points to bones, first select the Arm vector
layer.
Select the upper arm.
Next, activate the Bind Points tool.
Arm Vector Layer
Then, use the Select Bone tool to select the upper arm bone:
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that are bound to it also get selected - in this case, no points are bound
to the lower arm bone.
Next, drag a selection rectangle around the points in the lower part of
the arm, as shown below. Press the spacebar to bind the selected points
to the selected bone:
Bind Points
Drag a rectangle around all the points in the arm to select them. Press
the spacebar to bind the selected points to the selected bone:
Select the lower arm bones.
You’re done - you have manually bound points to both bones in the arm.
Now test it out with the Manipulate Bones tool.
Bind all points to the upper arm.
With the Bind Points tool still active, hold down the Alt key and click on
the lower arm bone to select it. When you select the lower arm bone,
notice that no points are selected. When you select a bone, the points
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Click on the lower arm bone to bind the entire Arm layer to the lower
arm bone.
Manipulate Bones
Although this method does work for binding points to bones, we don’t
really recommend it unless you have a special need to bind specific
points to specific bones. You may have noticed that the arm doesn’t
move so smoothly with manual point binding. This is because the points
around the elbow only move with one bone or the other, and so stretch
apart and get distorted. With automatic binding, on the other hand, the
points around the elbow move under the influence of both bones, and
so move more smoothly.
Manual point binding can also be very labor-intensive, especially when
your artwork has lots of control points. Finally, automatic bone binding
can be used to warp image layers, while manual binding can’t - another
reason to stick with automatic bone binding (using either flexible or
region binding mode).
Layer Binding
The last way to bind an object to a bone is to bind an entire layer to a
single arm. Make sure the Arm vector layer is still selected and activate
the Bind Layer tool.
Bind the Arm layer to the lower arm bone.
Use the Manipulate Bones tool to try moving the bones around.
Notice that the entire arm moves rigidly with the lower arm bone - the
entire layer is bound to that one bone. This isn’t very useful for this
particular arm, but binding a layer to a bone is useful when you want to
attach an object to a character. For example, a switch group containing
multiple mouth shapes can be attached to a bone in the head. Or, if you
want to make a character hold an object in its hand, you might bind that
object to the character’s hand bone.
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Manipulate Bones
Use the Manipulate Bones tool if you wish to confirm that the points are
automatically bound again.
Go Back to Automatic Mode
Let’s undo all of this extra binding and go back to automatic mode. With
the Bind Layer tool, click on some empty space in the editing view this tells Anime Studio to not bind the layer to any bone.
The arm under bone control.
Bind Layer
Next, select the Edit > Select All menu command to select all the
vector points. Finally, choose the Bone > Flexi-Bind Points menu
command to flexibly bind the points, as they were at the very beginning.
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The final result. (SWF File)
Tutorial 3.2: Bone Constraints
This tutorial demonstrates Anime Studio’s bone constraint features.
Bone constraints allow you to define limits on the way bones can move,
simplifying your animation work. When used carefully, bone constraints
can let the bone structures do some of the work for you.
It’s named “Tutorial 3.2” and it’s located in the “Tutorials/3 - Bones”
This file contains two skeleton layers that have no constraints set up.
We’re going to add constraints to these skeletons to show how useful
they can be.
Angle Constraints
The first type of bone constraint is angle limits. By limiting the angle
that a bone can rotate, you can prevent arms and legs from bending
backwards. Make sure the Arm layer is selected, and then use the
Select Bone tool to select the bone in the Arm as shown below:
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Select Bone
Select the Arm bone.
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When the Select Bone tool is active, the Bone Constraints popup box will
be available in the tool options area of the main Anime Studio window.
Click the Bone Constraints popup to open it, and adjust the settings as
shown below. Specifically, turn on the “Angle constraints” checkbox, and
set the min/max angle fields to -10 and 100.
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maximum angles you set up.
Manipulate Bones
Set angle constraints.
Click the Close button to close the constraints popup box. Then, set the
bone’s name to “Forearm” - we’ll see why later.
Name this bone “Forearm.”
Once you’ve set up angle constraints, you can see them in the working
area as two lines around the bone that indicate the minimum and
maximum angles the bone is allowed to rotate between. Try using the
Manipulate Bones tool and move the forearm - notice how Anime
Studio doesn’t allow you to move the bone beyond the minimum and
Visual display of angle constraints.
Tip: Here’s a handy little trick. Often, it can be hard to judge the correct
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numerical angles for bone constraints. There’s an easy way to adjust
them if you have a mouse with a scroll wheel. Hold the mouse over the
angle constraint you wish to change (in the Bone Constraints popup),
and roll the mouse wheel up and down. The angle will change, and the
display in the editing view will update to match. With this method, you
can watch the display in the editing view and not worry so much about
the actual numerical value.
Bring up the Bone Constraints popup again, and select “Forearm” from
the “Angle control bone” popup menu (this is why we named it earlier),
and enter the value 0.5 in the angle control field as shown below:
Control Bones
The next type of bone constraint allows one bone to control the motion
of another. This is a way to set up simple “automatic” animation. Select
the small bone above the upper arm:
Angle control setup.
We’ll do something similar for the small bone below the upper arm.
Select that bone, and set “Forearm” as the angle control bone, but this
time set the angle control value to -0.5.
Selected bone.
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Manipulate Bones
Finally, use the Manipulate Bones tool again to move the forearm.
Notice that now the muscles in the upper arm move automatically - this
is what the Angle Control Bone does - it tells other bones to move
automatically when it moves.
Upper Arm bones move automatically.
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Bone Locking
The third category of bone constraint is “bone locking”. When you lock a
bone, you’re telling Anime Studio that you don’t want it to move. Anime
Studio will try to keep the bone still by moving its parents as necessary
to keep the bone in place. This isn’t always possible (depending on what
else is happening in the animation), but it is still an extremely useful
feature.
Select the “Frank w/Skeleton” layer in the project.
Bone locking is often used to keep a character’s feet from moving
around on the ground. To do this, Anime Studio needs to move the
character’s legs automatically. Thus, it helps to use angle constraints to
keep the knees from bending backwards. Use the Select Bone tool to
select Frank’s left shin bone as shown:
Select the left shin.
Now set up angle constraints for this bone. The minimum angle should
be -10, and the maximum should be 120:
Angle constraints for left shin.
Now select the right shin, and set its angle constraints to -120 and 10.
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Angle constraints for right shin.
OK, the legs are prepared. Set the time to frame 24. Use the Translate
Bone tool to drag Frank’s spine bone around a small distance.
Select the left foot.
Translate Bone
In the tool options area, turn on the “Lock bone” checkbox for this
bone. Next, select the right foot bone and turn on “Lock bone” for it as
well.
Notice that his feet move around and don’t stay in place.
Choose the Select Bone tool again. Go back to frame 0 and select the
left foot bone:
Lock both foot bones.
Now that the feet are locked, go back to frame 24, and use the
Translate Bone tool again to drag Frank’s spine around.
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Bone locking is an animated parameter. You can turn on and off
bone locking as many times as you want during an animation. This is
especially useful when making a character walk - lock a bone as soon as
a foot hits the ground, and unlock it just before the foot is to leave the
ground for its next step.
Translate Bone
Notice that now Anime Studio tries to keep Frank’s feet locked to the
ground. If you lift Frank too high, his legs will completely straighten out
and his feet will lift from the ground - there’s really no helping that, the
same thing would happen to you if you were lifted off the ground. You
can try rotating the spine bone too and see how the skeleton reacts.
Tutorial 3.3: Bone Dynamics
Anime Studio’s bone dynamics system can be used to automatically
move bones around in response to higher-level movement. Anime
Studio uses a physical simulation of springs to calculate dynamic bone
movement, making it suitable for a wide range of movements, such as
flabby body parts, bouncy hair, waving arms, etc.
It’s named “Tutorial 3.3” and it’s located in the “Tutorials/3 - Bones”
Locked feet.
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Select Bone
Play back the animation to see what we’re starting with. The entire
structure will tilt side to side and bounce up and down, remaining rigid
the whole time. Only the vertical bone in the center of the skeleton is
animated - all the others move with it because they are its descendants.
Rewind the animation to frame 0 when you’ve seen enough.
Use the Select Bone tool to select the top-left bone in the structure as
shown below:
Select this bone.
In the tool options area at the top of the main Anime Studio window,
click the “Bone constraints” popup box to open it. In the popup box,
turn on the “Bone dynamics” check box. This tells Anime Studio to move
the selected bone automatically according to the spring simulation.
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Turn on bone dynamics.
Select seven more bones (two in each of the “arms”), and turn on
bone dynamics for each one. Here’s a tip: you can leave the “Bone
constraints” popup box open the whole time, just click on each bone in
turn, then turn on bone dynamics for each one. If the “Bone constraints”
popup box covers up some of the bones, you can pan the editing view
by dragging with the right mouse button to expose the hidden bones. At
this point, you should have turned on bone dynamics for every bone in
the structure except the vertical center bone.
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All eight leg bones set
Play back the animation to see the difference. Now as the structure
tilts side to side, the “arms” will bounce around in response to the
movement of the center bone.
Adjusting Spring Parameters
So that shows the basics of how to use bone dynamics. Now let’s
take a look at how you can make adjustments to the “bounciness”
of the springs. Select the top-left bone again, and re-open the “Bone
constraints” popup box. Below the “Bone dynamics” checkbox are three
parameters that allow you to fine-tune the effect. Set the Torque force
to 4, Spring force to 2, and Damping force to 2, as shown below. Select
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the bone’s immediate parent (the second bone in the top-left arm), and
apply the same dynamics parameters.
A higher Torque force means that a bone moves more in response to
its parent’s movement, Spring force determines how quickly it bounces
back, and Damping force controls how quickly a dynamic bone stops
moving (you can think of damping like friction). In this case, a high
torque force means that the bone will move more strongly.
Set a high damping force on these bones.
Adjusting dynamics parameters for both bones in the top left arm.
Finally, select the two bones of the bottom-left arm (one at a time), and
set the bone dynamics parameters to 2, 4, 1 (Torque, Spring, Damping).
The high spring force will cause this arm to bounce back very quickly.
Next, select the two bones of the top-right arm (one at a time), and set
the bone dynamics parameters to 2, 2, 5 (Torque, Spring, Damping).
These settings will cause these bones to slow down their dynamic
movement quickly - a high damping value is like making the bone move
through a thick fluid.
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Set a high spring force on these bones.
Try playing back the animation again. As you watch the final animation,
note the differences between the four arms. The top-left arm swings
in a wide arc because it has a strong response to the parent bone’s
movement. The top-right arm’s movement is subdued because the
damping force causes it to slow down more quickly. The bottom-left arm
is very springy, and the bottom-right arm moves in accordance with the
default bone dynamics settings.
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Tutorial 3.4: Character Setup
In this tutorial, you will learn how to set up the bone system for a
complex character. This will involve splitting a character apart, creating
bones, adjusting bone strength, and putting the character back together.
For this tutorial, we’ll start with a project file that already has the
artwork for the character drawn - you’ll just set up the bones. It’s named
“Tutorial 3.4” and it’s located in the “Tutorials/3 - Bones” subfolder
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within the main Anime Studio folder. Open this file in Anime Studio, and
you should see something like this:
Split Apart the Character
There are six vector layers in this project, containing the body parts for
this character. Although all the artwork could be drawn in one vector
layer, it is often easier to draw a character in multiple layers, arranging
the body parts from back to front, as shown below:
In order to make bone setup easier, the first thing to do is split apart the
character. Choose the Edit > Select All menu command. All the points
in the right arm (your right, his left) should be selected. Activate the
Translate Points tool and drag the mouse to move the arm off to the
side and up a bit:
Translate Points
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Arm moved off to the side.
Next, select the Head layer, and move all of its points upward. Repeat
the process for all the layers of the character, except the Torso layer,
moving the body parts away from the center, as shown below:
Body parts split apart.
The reason we split apart the character is so that we can add bones to
each part, while keeping the bones independent of each other. Later in
the tutorial we’ll put the character back together again.
Add Bones
The next step is to add bones. Add a new Bone layer to the project,
name it Skeleton, and move all the vector layers into it, keeping the
same order they are in now:
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New bone layer.
Using the Add Bone tool, add two bones going up through the torso,
starting with the bottom one:
Two new bones.
Use the Select Bone tool to select the lower torso bone. Then, select the
Add Bone tool and add three bones to one leg, starting at the hip and
moving down through the foot. Repeat the process for the other leg. The
hip bones should be parented to the lower torso bone.
Add Bone
Next, add two bones to each arm, starting at the shoulder and going
down - the shoulder bone should be parented to the upper torso bone.
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Leg bones added.
Use the Select Bone tool to select the upper torso bone, and then use
the Add Bone tool to add one bone to the head.
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Head bone added.
Select the upper torso bone with the Select Bone tool. Then use the Add
Bone tool to add two bones to one of the arms. Repeat the process for
the other arm. This figure shows all the bones in place:
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All the bones added.
And this next figure shows the parenting of all the bones. The parenting
arrows point from child bone to parent bone, and can be seen by
activating the Reparent Bone tool:
All the bones added.
At this point, feel free to try using the Manipulate Bones tool to see
how the bone system works so far. The body parts should mostly move
how you would expect, but not totally cleanly - the next step is to clean
up the bones’ influence.
Reparent Bone
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This is different from flexi-binding, where all bones affect all points.
Flexi-binding can be quicker to set up, but leads to more rubbery motion,
since moving a hand will always cause a little bit of movement in a foot.
Region binding makes separate body parts truly separate.
Manipulate Bones
For region binding to work, however, you need to adjust the region of
influence for each bone. To do this, activate the Bone Strength tool to
display the bones’ regions of influence:
Adjust Bone Influence
Double-click the Skeleton layer in the Layers window to bring up the
Layer Settings dialog. Go to the Bones tab and set the binding mode to
“Region binding”:
Turn on region binding.
When region binding is used, bones only move the points that lie in
their region of influence. If a point is overlapped by multiple regions of
influence, it will be affected by all the corresponding bones. If a point is
in no bone’s region of influence, it will move with the nearest bone.
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Try using the Manipulate Bones tool again to test the bone setup. The
character should move much more cleanly now - when moving an arm,
for example, only that arm should move, and you should see no extra
movement in other body parts.
Manipulate Bones
Put the Character Back Together
Initial regions of influence.
Using the Bone Strength tool, click and drag on each bone in turn to
adjust its region of influence. The correct adjustment for a region of
influence it generally to surround the points along that section of bone.
The most important regions are at the joints - the knees and elbows
and such. Those are the areas where the regions of two bones overlap,
and points will bend under the control of both bones. For parts like this
character’s head, the region of influence isn’t very important - since
there’s just one bone, the points outside the region of influence will
still move with that bone. Here’s how you should adjust the regions of
influence (don’t worry about matching this exactly, just try to get kind of
close):Adjusted regions of influence.
The final step is to reassemble the character. Activate the Offset Bone
tool.
Offset Bone
Click and drag on the top bone of each body part to move that part
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back into position. Move each arm by the upper arm bone, each leg
by the thigh bone, and the head by its single bone. When each part is
moved back into place, the character should look like this:
that character could be re-assembled while still keeping the body parts
independent.
Manipulate Bones
Re-assembled character.
Frame 0 is considered the “setup” frame for bones. When the time is set
to frame 0, the character will still appear split apart (unless you’re using
the Offset Bone or Manipulate Bones tools). However, at other frames in
the animation, the character will be re-assembled according to how you
used the Offset Bone tool.
Try moving the character around again with the Manipulate Bones
tool. The body parts will still move independently, even though they
now overlap. Because the bones were set up on a split-apart character,
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Final character.
If you’re interested in taking a look at the final Anime Studio file, it’s
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named “Tutorial 3.4 Final” and it’s located in the “Tutorials/3 - Bones”
subfolder within the main Anime Studio folder.
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Images
Tutorial 4.1: Image Layers
This tutorial introduces another type of layer in Anime Studio: Image
Layers. Image layers are a way of including artwork created in other
programs in a Anime Studio project. Any application that can produce
image files can be used with Anime Studio: photo editors, 3D modeling
programs, natural media painting programs, the list goes on...
It’s named “Tutorial 4.1” and it’s located in the “Tutorials/4 - Images”
Studio, expand the “Hula Girl” layer in the Layers window, and you
should see something like this:
An image layer in Anime Studio contains a single image file that can
be used as a background, or combined with a bone layer to build a
character. Although they’re called “Image” layers, an Image layer can
also make use of a movie file as its source. Image layers and vector
layers can be mixed and matched in the same project.
Alpha Channels
You’ll notice that the images used in this tutorial do not appear
rectangular. This is because they make use of an alpha channel to mark
some parts of the image as transparent. We recommend using PNG
images with Anime Studio because they support full alpha channel
transparency. You’ll need to use an image editing program (like Adobe
Photoshop) to create images with transparency.
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This project is almost complete as it is. The only thing that’s missing is
the dancer’s left hand. Add the hand as follows:
First, click on the layer named “L Arm” (we want the new layer to be
just above the left arm). Next, click the new layer button in the Layers
window to create a new layer.
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Left hand added.
In the popup menu that appears, choose “Image”. Anime Studio will
prompt you to select an image file. Choose the file “l_hand.png” in the
“Anime Studio/Tutorials/4 - Images” folder. Double-click the new layer
and rename it “L Hand”. At this point, your Layers window should look
like this:
New image layers are centered in the workspace, so the dancer’s hand is
not yet properly aligned:
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Translate Layer
The new hand.
To position the arm properly, use the Translate Layer tool to drag
the left hand into position at the end of the left arm. Allow for a little
overlap between the two parts at the elbow:
Left hand in position.
The last step is to attach the new part to the dancer’s skeleton. Select
the Bind Layer tool, and click on the lower arm bone on the dancer, as
shown below:
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Bind Layer
Tutorial 4.2: Image Warping
Bind the image layer to the forearm.
You’re done! To see the animation in action, press the Play button.
Of course, we skipped over the process of building and animating the
skeleton, but the basics of working with skeletons were covered in
previous tutorials - all of that information applies when using bones with
image layers.
This tutorial demonstrates Anime Studio’s image warping feature. This
feature allows you to use a skeleton to distort an image. In this way, you
can animate photographs, hand-drawn artwork, or anything you can get
into an image file in a flexible way.
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Studio, expand the “Skeleton” layer in the Layers panel, and you should
see something like this:
The bone layer contains two sub-layers: an image layer and a vector
layer. Try playing back the animation. Notice that only the vector layer
moves with the skeleton:
Only the vector layer moves.
The reason that the image layer isn’t moving is that it hasn’t been
connected to the bones yet (as the vector layer has been).
Using Image Warping
To warp the image layer with the skeleton, double-click the “statue.
png” layer, and go to the “Image” tab in the Layer Settings dialog. Turn
on the checkbox marked “Warp using bones” and click OK.
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Also, turn off the visibility for the “vector sample” layer - it was only an
example, and we don’t want it in the final animation.
Image warping.
Play back the animation again, and you should now see the image
moving with the skeleton:
Tip: Notice the horizontal bone at the base of the statue. This bone
doesn’t move at all in the animation, so why is it even there? When
using image warping, the image is distorted by all the bones in the
skeleton, and the nearest bone to any part of the image has the most
influence. We don’t really want the base of the statue to move, so an
easy way to prevent this is to add a bone in the area we want to remain
still, and not animate it. Another trick you might use when warping
images is to break up an image into logical parts (for example, make the
arms and legs of a person separate images from the main body). Then,
use different skeletons to control the various re-assembled parts. This
way, a leg bone can’t have any influence over an arm.
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Tutorial 4.3: Animating a Talking
Head
This shows you an easy way to animate a photograph to create a cheesy
talking-head effect. The quality of the result will depend a lot on the
photograph you start with and how the bone system is set up.
Studio, and you should see this:
The project contains an image layer enclosed in a bone layer. Bones
have already been set up to control the mouth region, and extra bones
have been set up around the border of the image to hold the rest of the
head still.
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Test Bones
Select the Manipulate Bones tool and use it to drag the bone at the
lower right side of the mouth in the reagan.png layer. Notice that the
other mouth bones move as well - they have been set up using bone
constraints to move in sync with the lower-right bone.
Manipulate Bones
Moving the mouth.
Adding Sound and Motion
Now we’ll add a soundtrack to this animation. Choose the File >
Import > Audio menu command. When prompted, pick the reagan.
wav file from the “Anime Studio/Tutorials/4 - Images” folder. The audio
file will now play back with the animation - try playing it back if you like.
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The next step is to add some animation in sync with the soundtrack.
Activate the Select Bone tool and make sure the bottom-right bone in
the mouth is selected (it probably already is at this point).
Select Bone
Set the current time to frame 1. Select the Script > Sound > Bone
Audio Wiggle menu command. This is a script that uses the volume of
an audio file to control the angle of a bone.
only select one audio file if there are multiple sounds in your scene.
There are two additional settings in the Bone Audio Wiggle dialog.
Set the Max angle to 180, and keep the Frame Step setting at 2. This
creates keyframes at every other frame. Click OK to exit the dialog. The
script will run and add keyframes to the timeline for the selected bone.
Keyframes for Bone Audio Wiggle
Because the other bones are controlled by the selected one, the whole
mouth will move.
Tutorial 4.4: Image Textures
In this tutorial you will learn how to use images as textures to add detail
to a character.
Bone Audio Wiggle script
The dialog allows you to choose the sound file that you want to use.
Select the same reagan.wav file you used for the soundtrack. You can
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Play back the animation to see what’s going on, and then be sure to
rewind the animation to frame 0. What you’re going to do is hand paint
some texture details to go on this character.
Paint the Textures
The first step is to paint some textures to go on this headless animal’s
body. Select the File > Preview menu command to create a full-quality
view of the animal’s current state.
In the popup menu at the bottom of the Render window, select “Copy
To Clipboard”.
Rendered animal
Then, start up your favorite image editing program (we recommend
Adobe Photoshop) and create a new document the same size as the
Anime Studio project (320x240 in this case). Paste the copied image into
the new document.
Create a new layer in your image editing program and paint some kind
of texture details onto the animal’s body parts. It’s very important that
the texture be on a layer of its own. If you’re using Photoshop, the layer
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arrangement would look something like this:
Layers in Photoshop.
You can paint whatever details you want. Here’s an example of
something you might paint in your image editor. Don’t worry about
painting outside the lines:
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Painted on texture.
When your texture is finished, get rid of the background layers so
that only the texture is left with a transparent background (you’re still
working in Photoshop or similar program at this point):
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Background removed.
Back legs texture. back_tex.png
Finally, you need to save the texture as three separate files - one for the
back legs, one for the torso, and one for the front legs. For each version
of the texture, delete the parts of the texture that are not attached to the
corresponding body parts. Save the images in PNG format, since PNG
properly stores the transparent background. Name the files “back_tex.
png”, “body_tex.png”, and “front_tex.png”. Here’s what the three
textures should look like:
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Body texture. body_tex.png
Front legs texture. front_tex.png
You’re done working with the image editor - it’s time to bring the
textures back into Anime Studio.
Note: If you’re having trouble creating the image textures, we have
provided some files for you to examine. Look at the file “Tutorial 4.4
Texture.psd”, located in the “Tutorials/4 - Images” subfolder within the
main Anime Studio folder - this is the Photoshop file. Also, look at the
files “back_tex.png”, “body_tex.png”, and “front_tex.png”, which are
the finished texture files.
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Import Textures
Back in Anime Studio, create a new Image layer, and select “back_tex.
png” as the source image. Place the layer inside the bone group, just
above the “Back Legs” layer.
Create another image layer for “body_tex.png” and place it just above
the “Body” layer.
And finally, create a third image layer for “front_tex.png” and place
it just above the “Front Legs” layer. Here’s how the new image layers
should be arranged:
Textures applied in Anime Studio.
Use Masking for Clean Edges
The final step is to clean up the texture edges using layer masking.
Double-click the “Skeleton” layer in the Layers window to bring up the
Layer Settings dialog. Go to the Masking tab, and set the group mask to
“Hide all”:
Three new image layers.
At this point, the textures are finished and in place, but they are a little
messy, and go outside the bounds of the actual body parts:
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Turn masking on for the group.
Next, double-click the “Back Legs” vector layer to bring up the Layer
Properties dialog for that layer. Go to the Masking tab, and set the
masking mode to “+ Clear the mask, then add this layer to it”:
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Set the masking mode for the Body layer.
What this masking mode does is make all objects invisible, except where
this layer has solid areas. So, the “back_tex.png” image layer will only
be visible directly on top of the “Back Legs” vector layer, preventing the
texture from going outside the lines of the back legs.
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Set the masking mode for both the “Body” and “Front Legs” vector
layers to “+ Clear the mask, then add this layer to it”, just like you did
for the back legs. At this point, all the textures should be forced to stay
inside the lines:
Textures cleaned up with masking.
Play back the animation again and you’ll see the image layers warp
along with the vector layers in response to bone movement.
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Animation
Bone animation involves setting up a skeleton system for an object and
then moving the skeleton around. By carefully constructing a skeleton,
you can easily move a character around like a puppet.
After all the preparation time drawing your objects, assigning fill colors,
and setting up bones, you move on to animating them. This is where
things actually start to move around.
Layer animation is for very simple, large-scale motion. When you move
a layer, everything in it moves together. This doesn’t give you a lot of
flexibility as far as what you can animate this way, but it’s a good way
to get certain effects. If you want an entire group of objects to pan side
to side or zoom in or out, then layer animation is the tool to use.
Animating in Anime Studio is based on the concept of keyframes. A
keyframe is a point in time where you position some object (either
a point, a bone, or an entire layer). A keyframe tells Anime Studio
exactly where that object should be and when. Keyframes are set up
at “important” moments in time - typically where an object begins
moving, stops moving, or changes direction. Between keyframes, Anime
Studio automatically calculates how to move an object so that it gets
from one keyframe to the next in the amount of time allowed between
the keyframes.
To create a keyframe, just set the current time to whenever you want
the keyframe to occur, then move the object to the desired position.
Controlling the current time and working with keyframes after they’ve
been created is discussed in “Timeline Window” on page 280.
You can animate several types of motion in an Anime Studio project,
and they can each be used alone or in combination. The first type is
point motion. Point motion very basic - it just involves moving individual
points around in time. Point motion is good for small distortions to an
object where you want something to look soft and flexible (turning up
the corners of a mouth into a smile, bulging out a belly, etc.). You can
move a shape in any way you want with point animation, but it might
require manipulating a lot of points - in many cases bone animation can
simplify the job.
Animation
The keyframes you define are visible in the Timeline, starting at frame 1.
Frame “0” is a special frame in an Anime Studio project - the original
placement of all your objects is stored at frame 0. If you want to modify
an object’s original shape or position, or add new objects, this should
be done at frame 0. Whatever you do to an object in later frames can
never affect an object’s original shape and position, so even if you think
you really screwed something up, you can always delete some keyframes
and get back your original drawings.
This chapter has a useful hands-on overview of how to animate in
Anime Studio, using each type of motion (point, bone, and layer).
Once you’ve mastered Anime Studio’s animation tools, animating is a
simple job of repeatedly using the tools you already know, keyframe by
keyframe.
Tutorial 5.1: Automatic Lip-Sync
This tutorial uses Anime Studio’s Switch layers to show you how to
perform instant, automatic lip-syncing. A switch layer contains multiple
sub-layers, but only one of the sub-layers can be displayed at a time.
This makes it very useful for lip-sync animation: each sub-layer can be a
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mouth shape for a different sound.
The method of lip-sync described in this tutorial is quick and easy,
though not always super-accurate (but give it a try - it may be accurate
enough for your animation). For the most accurate lip-sync results, we
recommend using a program like Papagayo. Lip-syncing using Papagayo
is covered in “Tutorial 5.2: Phoneme Lip-Sync” on page 96.
named “Tutorial 5.1” and it’s located in the “Tutorials/5 - Animation”
Studio, expand the “Mouth” layer in the Layers window, and you should
to top they range from closed to wide open. This is the basic setup for
automatic lip-syncing. The number and names of the sub-layers don’t
matter, as long as the lowest one is closed and the highest one is wide
open.
Next, we want to hear the audio file that will go along with the
lip-syncing. Choose the File > Import > Audio command from
Anime Studio’s menu and select the file “bushism.wav”, located in the
“Tutorials/5 - Animation” subfolder within the main Anime Studio folder.
You can play back the animation now to hear the result, but the mouth
doesn’t move yet. Stop the playback before proceeding.
Double-click the “Mouth” layer. When the Layer Settings dialog opens,
click the “Switch” tab:
Layer settings for the mouth.
Examine the sub-layers in the “Mouth” layer. Notice that from bottom
Click the “Select audio sync source” button to select the file that will
control the Switch layer. In the file dialog that appears, select the file
“bushism.wav”. Click the dialog’s OK button.
That’s it! The audio file was analyzed and keyframes were attached to
the Switch layer. When the audio is quiet, Anime Studio activates the
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lowest layer (the closed mouth), and when the audio is loudest, Anime
Studio uses the highest layer (the wide open mouth). In between, Anime
Studio switches on the in between mouths. Play back the animation to
see and hear the result. In general, because automatic lip-sync is based
on the actual sound in the audio file, it is important to use an audio file
without background noise or music.
based on phonemes, it requires you to break down the words of dialog
into their basic sound elements. There are software programs out there
that can help you do this - the one that we recommend for using with
Anime Studio is the free program Papagayo.
Studio, expand the “Head” layer in the Layers window, and you should
Tutorial 5.2: Phoneme Lip-Sync
This tutorial covers another method of animating lip-sync. With this
method, the lip-sync is based on phonemes. Phonemes are the basic
“building block” sounds that make up words. When you do lip-sync
Animation
This project is almost complete. The only thing apparently missing is
the animation for the character’s mouth. Play back the animation. The
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mouth is there (it’s a switch layer), but no animation data has yet been
assigned to it, so it doesn’t move.
Double-click the “Mouth” layer. When the Layer Settings dialog opens,
click the “Switch” tab:
that will control this switch layer. In the file dialog that appears, select
the file “vista.dat” located in the “Tutorials/5 - Animation” subfolder
within the main Anime Studio folder.
The vista.dat file was created using a program called Papagayo.
Papagayo is a tool designed to help you synchronize animation to audio
tracks. This particular file is based on an example file included with
Papagayo, and is an animation of a mouth speaking, “Hasta la vista,
baby.” For more information, see the Papagayo documentation.
The Mouth layer contains all the mouth shapes needed to speak any
phrase. You can examine the Mouth layer to see the sub-layers it
contains. Each sub-layer is named after a different phoneme. You can
use any set of phonemes you choose - the ones in this mouth are based
on the same default set used by Papagayo, which is a good place to
get started. To make the mouth speak a different phrase, just create a
different animation data file in Papagayo, and select it into the mouth
layer as we just did for the vista.dat example.
To hear the sound along with the animation, choose the File > Import
> Audio command from Anime Studio’s menu and select the vista.wav
file located in the “Tutorials/5 - Animation” folder. Now, when you play
back the animation in Anime Studio you will hear the audio that goes
with the lip-sync. Also, if you export the animation as a QuickTime or AVI
movie, the audio will be included in the movie file.
Layer settings for the mouth.
Click the “Select audio sync source” button to select the switch data file
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Studio.
We’re interested in the Skeleton layer here - make sure it is the active
layer. The skeleton here is partially animated - go ahead and play it
back to see what you’re starting with. In case you were wondering, only
the lowest vertical bone in the skeleton is actually animated. The other
bones are using bone constraints to follow the motion of the lowest
bone.
Motion Curves
Tutorial 5.3: Animation Curves
(Anime Studio Pro Only)
Introduction
This tutorial introduces the graph mode of Anime Studio’s timeline.
Graph mode allows you to inspect an animation curve plotted as
values on a graph. Looking at things this way can help with evaluating
acceleration, changes in direction, and other properties of motion.
Animation
Select Bone
Rewind the animation to frame zero, and use the Select Bone tool to
select the lowest vertical bone as shown below:
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Select the Bone Channel icon
The first time you click the icon, you turn on the display of the channel in
the graph. The second click makes the channel active for editing.
Select the lowest bone.
In the Timeline window, click the Motion Graph tab and turn on the
“Enable graph mode” checkbox. Click the Selected Bone A channel
icon - this is the channel icon on the left side of the timeline, and looks
like this:
By default, not all channels are visible, since this would just cause too
much visual clutter in graph mode. For similar reasons, only one channel
can be active for editing in graph mode. Double-clicking a channel’s icon
makes it active for editing.
Now, press the End key on your keyboard - this rescales the graph to
accommodate the currently active channel, in this case the selected bone
rotation channel. After all of these adjustments to the graph, it should
look like this:
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work (you may need to turn off your Num Lock key). Next, click the
keyframe at frame 33 and drag it upwards slightly as shown below. If
you hold the Alt key while dragging a keyframe in graph mode, you
will only be able to drag it vertically. Hold the Ctrl key to move it only
horizontally.
Graph mode.
In the graph you can see three keyframes. These are just like keyframes
in the normal timeline, but instead of just being spread out along a
horizontal line (time), they are also spaced vertically (value). Between
the keyframes, a curve is drawn that represents the value of the selected
bone’s rotation angle. Looking at this curve, you can tell that over the
first second (frames 1 to 24), the bone rotates from an angle of 1.57 to
an angle of about 1.05 (we don’t care about the exact values). Then, in
less than half a second it rotates back again.
Move a keyframe.
Next we’re going to add a new keyframe directly on the graph. Right
click on the graph around frame 37. In the popup menu that appears,
select “Add Keyframe”. A new keyframe will appear on the graph - drag
it to the location shown:
Note: in the timeline’s graph mode, angles are displayed in radians so
that they’ll be closer in magnitude to other values like translation and
scale. However, if you want to see curves displayed in degrees you can
tell the timeline to do that in Anime Studio’s preferences dialog.
Now we’re going to edit the bone’s motion by modifying the graph. First,
set the current time to frame 48 and choose the Bone > Reset Bone
command.
Press the Page Down key to give yourself some room in the graph to
Animation
Add a new keyframe.
Let’s add three more keyframes like the previous one. Add these keys at
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frames 40, 43, and 46. You don’t need to set the time to the frame you
want to add a key to - just right-click at the correct frame and add the
new key. Don’t worry if the key isn’t exactly at the frame you wanted,
since you can easily drag it into position. Move these new keys so that
the curve looks like this:
option of sorting layers by depth, allowing layers to move in front of and
behind each other during the course of an animation.
The final graph.
What this wiggling curve represents is sort of a springy back-and-forth
motion that decreases over the span of just over half a second. You
could have animated this using the normal timeline and the bone
rotation tool, but this gives you another way to understand the motion
you’re creating. Play back the animation to see what it looks like.
Tutorial 5.4: Sorting Layers by
Depth (Anime Studio Pro Only)
This tutorial shows you some of the 3D-related features of Anime Studio.
Anime Studio allows you to move layers in three dimensions to create
an accurate simulation of depth. In addition, Anime Studio has the
This file contains two layers and a simple animation of a circle moving
back and forth in front of a square. Try playing back the animation to
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see what it looks like.
Creating Depth
Translate Layer
Now we’re going to try moving a layer in 3D - towards and away from
the camera. Set the current frame to 12 and activate the Translate
Layer tool. Make sure the “Circle” layer is active. Now, while holding
down the Alt key, drag downwards in the editing area. You’ll see the
circle get larger - this is because it is moving closer to the virtual camera.
The Alt key modifies the Translate Layer tool to move a layer forward
and back. Drag the Circle layer until it looks about like this:
Circle moved forward.
notice the value of the Z field. It should be somewhere around 1.0 (the
exact value isn’t important here). Positive depth (or Z) values are closer
to the camera (in the direction out of your screen), while negative values
point away from the camera (into the screen).
Next we’ll try moving the circle away from the camera. Set the current
frame to 36. Again holding down the Alt key, use the Translate Layer
tool and drag upward in the editing area. Keep going as the circle gets
smaller (farther away), until it looks like this:
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Studio can do this automatically - all you need to do is to turn on a
single checkbox. Select the File > Project Settings menu command.
In the dialog that appears, turn on the “Sort layers by depth” checkbox
and click OK. This tells Anime Studio to ignore the layer ordering in
the Layers window, and instead draw layers in order from furthest to
nearest. Play the animation again, and you’ll see that the circle is drawn
behind the square during the time that it is farther away.
To get a clear idea of what’s going on, use the Orbit Workspace tool
to turn the scene to an oblique angle. If you play back the animation
from this point of view, you can clearly see the circle moving forward
and back as it moves around the square.
Circle moved backward.
The Z value in the tool options area should now be close to -1.0. Try
playing back the animation again - the circle should now grow larger
and smaller as it moves towards and away from the camera. However, it
always appears in front of the square. As it moves farther away, it should
be going behind the square, which brings us to...
Orbit Workspace
Once you have a good view, activate the Translate Layer tool to display
the path of the Circle layer’s motion.
Sorting Layers by Depth
If you do move layers forward and back, as in this tutorial, you may
also want layers to move behind and in front of each other. Anime
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is a special type of keyframe interpolation, and this tutorial will show you
how to set it up.
subfolder within the main Anime Studio folder. In the timeline, you can
see that the top layer, “Red Blinker”, has two keyframes in the Layer
Visibility channel. The layer becomes invisible at frame 36, and visible
again at frame 48. This is also shown by the red background in the
timeline during the layer’s invisible period:
View from above.
A note about depth sorting: The checkbox we turned on to sort the
layers by depth only sorts the top-level layers in an Anime Studio project.
If you want to sort the sub-layers in a group, double-click the group layer
to bring up the Layer Settings dialog. There you will find a tab labeled
“Depth Sort” - in this tab is a checkbox that you can turn on to depthsort the sub-layers of the group.
Tutorial 5.5: Cycling
It is possible in Anime Studio to automatically cycle a section of
animation, repeating it over and over as many times as you wish. Cycling
Animation
You can play back the animation to see what’s going on. Basically, the
red light starts off turned on, then it shuts off for a while and finally
turns back on.
Using cycling, you can make the light blink over and over. Right-click
on the second keyframe (the one at frame 48), and in the popup menu
that appears, select “Cycle...”. You’re telling Anime Studio that after this
keyframe, you want the animation to cycle back to an earlier point in the
animation. A dialog will appear asking you the specifics of the cycling.
Enter the values shown below:
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Let’s try adjusting the cycle duration. In the Timeline window, hold down
the Ctrl key while you click and drag on the second keyframe (the one
that cycles). As you drag the mouse side-to-side, you’ll see that the cycle
duration changes, as the arrow that points back from the cycling key
gets longer and shorter. Adjust the cycle duration so that the keyframe
cycles back to frame 24:
Cycle settings.
When you click OK in the cycle dialog, the timeline will update to show
the cycle. There are three changes you will see: First, the keyframe in
question will change to a left-pointing arrow to indicate that it cycles
backwards. Second, a long red arrow will point back to the point in the
timeline that the visibility channel is cycling back to. Third, later in the
timeline you will see other sections with red backgrounds to indicate
that the layer is invisible during those periods:
Adjusted cycle duration.
If you play back the animation now, you’ll see that the light blinks more
quickly now, since the cycle duration is shorter.
Finally, to break a cycle, all you have to do is add another keyframe
when you want the cycle to end. Set the current frame to 102, right
click in the Layer Visibility channel, and select “Add Keyframe” from the
popup menu that appears. The new keyframe will appear, and at that
point the cycling will end. Play back the animation to confirm this.
Cycling reflected in the timeline.
You can play back the animation again to see the result. The “Red
Blinker” layer will flash on and off multiple times, even though you
didn’t add any more keyframes - the Layer Visibility channel is just
cycling back and repeating a section of animation over and over again.
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again. In this tutorial you will learn you how to use actions.
For this tutorial, we’ll start with a project file that already has some
actions set up. It’s named “Tutorial 5.6” and it’s located in the
“Tutorials/5 - Animation” subfolder within the main Anime Studio folder.
Open this file in Anime Studio, and you should see something like this
(don’t worry - the split-apart character is just part of the bone setup
process):
New keyframe at frame 102.
Conclusion
Cycling can be used in any animation channel in Anime Studio. Any
keyframe can be made to cycle back in time by setting “Cycle” as the
key’s interpolation method. You can cycle a channel all the way back to
the beginning of an animation, or just back a few frames. Cycling will
repeat itself forever or until a new keyframe is reached.
Tutorial 5.6: Actions (Anime Studio
Pro Only)
In Anime Studio Pro, actions are little clips of animation that are
associated with a layer (or group of layers). Using actions, you can create
reusable animation for movements that you expect to use over and over
Animation
Let’s take a look at the actions for this character. Select the Window
> Actions menu command to bring up the Actions window. It should
appear as shown below:
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Actions for this character.
Each item listed in the Actions window is a clip of animation that this
character can perform. The first entry in the list, “--- Mainline ---” is kind
of special. “Mainline” is not an action - it represents the main timeline
for the animation, the one that will ultimately be exported as your final
movie.
To view or edit an animation, double-click it in the Actions window. Let’s
do this now with the “Step” action. After double-clicking “Step”, a little
red arrow will appear next to it in the Actions window. This indicates
that Step is the currently active action:
Activate the Step action.
Also notice that the Timeline window has changed. The background
changed color to indicate that you’re working with an action, not the
main animation. Finally, some keyframes appeared in the timeline these are the keys for the Step action. Press the playback button to
watch this action, and stop it when you’ve seen enough.
Try playing back the other actions as well. For each one in turn (Wave,
Squat, and Bend), double-click the action’s name to activate it. Then,
play back its motion to see the result. When you’ve watched them all,
double-click Mainline to go back to the main animation’s timeline.
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Using Actions
Now that we’ve seen which actions the character can perform, let’s
try using them in an animation. Make sure that “Mainline” is active in
the Actions window. Set the current frame to 3, and click once on the
“Wave” action. Be sure to just click once - “Mainline” should still be
active with an arrow next to it, and “Wave” should be highlighted:
Inserting a reference to the Wave layer..
When you insert an action by reference, Anime Studio will use that
action’s motion in the timeline. If you later modify the action, those
changes will be reflected in the main timeline. As you can see, the
timeline has been updated to indicate that the Wave action was inserted,
plus it shows how long the Wave action lasts:
Click once on “Wave”.
Now that Wave is selected, we can insert it into the main timeline. Click
the “Insert Reference” button at the top of the Actions window.
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Wave action inserted into the timeline.
Actions can also be overlapped. Set the current time to frame 12. Click
once to select the Squat action in the Actions window. Finally, click the
“Insert Reference” button to insert the Squat action. Notice that the
timeline now shows both actions (with the Squat action adding four
channels in the timeline). Play back the animation to see how these two
actions overlap.
Inserting a reference to the Squat layer.
Wave and Squat actions overlapping.
Let’s overlap three actions now. Go to frame 40, and insert references
to three actions: Wave, Squat, and Bend. One after another, click once
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on the action then click the “Insert Reference” button . Play back the
animation now and see how the character performs the three actions
together, starting at frame 40.
Finally, let’s try repeating an action a few times. Go to frame 66, and
insert the Step action. Then go to frame 78 (at the end of the first step
action) and insert the step action again. Do this once more at frame
90. The step action should now appear three times in sequence in the
timeline:
Add a new Layer Translation keyframe.
Finally, set the current frame to 102, and the total number of frames to
102, then use the Translate Layer tool to move the character to the
left off screen:
Repeating the Step action.
The last thing we’ll do is move the character off screen. Select the Layer
Translate tool and click inside the scene to set a keyframe.
Character translated off screen.
Tutorial 5.7: Frame by Frame
Animation
Translate Layer
Animation
Traditionally, animation was created by drawing frames one after
another, each one slightly different from the last. Anime Studio does
not work this way - in Anime Studio, you create artwork and then use
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keyframing to move parts of the object around (using either bone or
point motion), and then Anime Studio fills in all the in-between frames.
However, there is a way to do some frame-by-frame animation in Anime
Studio, and this tutorial will show you a simple example of how you can
do this. Keep in mind that this isn’t what Anime Studio was designed
for - if you’re looking for a frame-by-frame animation program, Anime
Studio isn’t the best tool for the job. But, if you just need to do a little
bit of frame-by-frame animation, this technique might work for you.
little worm in the editing view.
•
When drawing the body, make sure that the Freehand tool’s “Auto
close”, “Auto fill”, and “Auto-stroke” options are turned on.
•
When drawing details, make sure that only “Auto stroke” is
checked.
You might end up with something like this (feel free to put more work
into it for a prettier result):
Start With a Blank File
Start out with a new, blank Anime Studio project - it should just have
one layer, “Layer 1”.
Add a new Switch layer and name it “Inchworm”. Move Layer 1 into
the switch layer. Next, right-click on the switch layer and select “Layer
1” from the popup menu to make that layer active in the switch group.
Finally, select the “Layer 1” layer as we’re about to draw in it. Here’s
what the layout should look like:
Freehand
The starting layout.
Now, select a fill color and a line color in the Style window for the
inchworm you’re about to draw. Activate the Freehand tool and draw a
The first inchworm frame.
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Next, advance the time to frame 3. Create a new vector layer - it should
be automatically named “Layer 2” and should appear just above Layer
1. When you create this new layer, it becomes the active layer in the
switch group:
NOTE: If you are unable to add a vector layer at Frame 3, choose
Edit > Preferences to open the Preferences dialog. Uncheck the
“Enable Drawing Tools Only on Frame 0” option in the General
tab(which is on by default to prevent accidental changes to the
timeline).
Freehand
Onionskin setup in timeline.
New layer added.
In the timeline, turn on an onionskin at frame 2. To do this, click the
Onionskins button in the Timeline toolbar and check “Enable onion
skins.” Also, in the Onionskins popup, turn on the “Relative frames”
option - this will cause the onionskin to follow behind the current
time by one frame. Finally, right-click in the area just below the frame
numbers to add an onionskin marker at frame 2. Here’s what the
timeline should look like:
Animation
Now let’s get back to drawing. In the editing view, you should see an
outline of the first drawing you made. On top of this outline, using the
Freehand tool, draw a new inchworm, slightly advanced ahead of the
previous version:
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Advanced inchworm.
Next, move forward two frames to frame 5. Create a new vector layer
(it will appear above the previous two). You should see the onionskin
outline of the previous worm - draw a new one on top of it:
Advanced inchworm.
Continue this process: advance two frames, create a new vector layer,
and draw a new inchworm. Add about six more layers, causing the
inchworm to scrunch up and then stretch out again, moving forward
over the course of about 17 frames.
Play it Back
Play back your animation, and you should see each drawing appear for
two frames before moving on to the next drawing. That’s all it takes to
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do frame-by-frame animation in Anime Studio. The key is that when you
create a new layer in a switch group, that layer becomes the active layer
at that frame. So, by adding a layer, drawing a figure, advancing the
current time, and repeating the process, you can create frame-by-frame
animation in Anime Studio.
If you want to see a finished example of this, open the file “Tutorial
5.7”, located in the “Tutorials/5 - Animation” subfolder within the main
Anime Studio folder.
Tutorial 5.8: Creating a 3D Scene
This tutorial will show you how to build and move around in a 3D scene
in Anime Studio. Anime Studio isn’t a full 3D program - layers in Anime
Studio are 2D planes that exist in a 3D space. However, by positioning
these 2D layers carefully, and moving around them using the 3D camera,
you can create a convincing 3D environment.
subfolder within the main Anime Studio folder. This file has some simple
artwork that we’ll use to build a 3D scene. The layers in this file are set
up as shown:
The final result.
The editing view should look like this to begin with:
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Rotate Layer XY
Adjusting X rotation.
Next, activate the Translate Layer tool, and in the tool options area,
enter -0.25 as the Y value:
Creating a Ground Plane
The first step in creating our 3D scene is to set up the ground plane.
Select the “Background” layer - this layer has already had a simple
terrain drawn onto it, we just need to position it correctly. Activate the
Rotate Layer XY tool, and in the tool options area at the top of the
main Anime Studio window, enter an angle of -90. Even though the
Background layer is just a flat 2D object, it can still be rotated and
positioned in true 3D space:
Translate Layer
Adjusting position.
Finally, activate the Scale Layer tool, and in the tool options area,
enter 5, 5, 5 as the layer’s scale values:
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Scale Layer
Adjusting scale.
What these settings do is to rotate the Background layer so that it lies
down horizontally, lower it a bit, and spread it out wide to cover a large
area. Perfect settings for a ground plane. The scene should now look like
this:
Ground in position.
Arranging Foreground Objects
The next step is to create and position foreground objects. A simple tree
has already been created for you - let’s set it up in 3D. Often, positioning
objects in 3D can be easier done from an overhead view. Use the
Orbit Workspace tool to rotate the view of the scene so that it looks
something like this.
(Notice the little blue wedge in the scene - this represents the camera.)
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Orbit Workspace
Orbit Workspace
Now, in the tool options area, set the Position X value to -3.25, and the
Z value to -2.25. The tree will be moved to the far corner of the scene:
Translate Layer
View from above.
Now select the “Tree” layer, and make the Translate Layer tool active.
Double-click the Tree layer. The Layer Settings dialog opens. In the
Options section of the General tab, turn on the “Rotate to face camera”
checkbox (you’ll see why this is important later).
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A forest.
Moving the tree.
OK, that’s one tree - now add several more. Duplicate the Tree layer, and
set new values for the X Position and Z Position. Repeat the process
several more times, just scattering trees across the landscape. Any values
for X and Z Position will do, as long as they’re roughly in the range
between -3 and 3. Keep going until you’ve created about 12 more trees.
Position them all over the place - close to the camera, far away, behind
it, etc. When you’re done you should have a small forest:
Animation
Here’s a trick: if you have a mouse with a scroll wheel, instead of typing
in numbers for the X and Z values, try holding the mouse over those text
fields and turning the wheel. The value in the field will change, and you
can watch the layer move - just keep turning the wheel until the layer is
where you want it.
Now the reason for the “Rotate to face camera” checkbox may be clear.
The Tree layer (and all of its duplicates) automatically turns to face the
camera - notice how each tree is turned in a slightly different direction.
This makes sure the camera always has a full view of that layer. This may
not always be what you want, but for scenery objects, it can be a good
trick, especially when the camera starts moving.
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The last step to finish off the forest is depth sorting. Double-click the
“Foreground” group layer. In the Layer Settings dialog, click the “Depth
Sort” tab. Turn on the “Sort layers by depth” checkbox and click OK.
Now all the tree layers in this group will be sorted according to their
distance from the camera.
Moving the Camera
Now that we’ve got a filled-in scene, lets take a tour. Select the View
> Reset menu command. You are now looking at the scene from the
camera’s point of view:
Track Camera
Set the current frame to 48 and activate the Track Camera tool. While
holding down the Alt key, click and drag downward in the editing area.
(The Alt key tells the Track Camera tool to move the camera forward
and back.). Keep dragging downward until you’ve moved forward
almost to the edge of the ground layer.
Forward movement.
Camera view.
Now activate the Pan/Tilt Camera tool. Hold down the Shift key and
drag to the side to turn the camera around. (The Shift key prevents you
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from rotating the camera up and down.) It doesn’t matter where you
turn to - just point the camera in an interesting direction:
Pan/Tilt Camera
move forward, and turn the camera) as much as you want, taking a little
tour of your 3D scene.
Orbit Workspace
When you’ve moved around as much as you want, try playing back the
animation. While playing back the animation, use the Orbit Workspace
tool to view the scene from above. There are two things to notice here:
first, if you activate the Track Camera tool again, the path of the camera
is visible when viewing the scene from above. If the path is not visible,
check the “Show Path” option in the Track Camera tool status bar. This
can be useful when planning out camera moves. Second, watch how the
trees turn during the animation to always face the camera. That way, the
camera never catches an edge-on view of any tree, which would kind of
spoil the 3D effect.
Turn the camera.
Set the current frame to 96, and use the Track Camera tool to move
forward again (be sure to hold down the Alt key to move forward). After
moving forward, turn the camera in a new direction (be sure to hold
down the Shift key). Continue this process (advance the current time,
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View from above.
Feel free to experiment with more camera moves, or to add objects of
your own to the scene.
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Effects
Tutorial 6.1: Particles (Anime
Studio Pro Only)
This tutorial demonstrates Anime Studio’s particle layers feature. Particle
layers are used to create effects made up of many small objects flying
around. This includes effects like water, smoke, and swarms of insects.
For this tutorial, we’ll start with a project file that’s already started.
It’s named “Tutorial 6.1” and it’s located in the “Tutorials/6 - Effects”
There are four layers in this file, each containing a small gray blobshaped object. You can zoom in to look more closely at these objects.
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New particle layer.
A smoke particle.
These blobs will be used to create a smoke effect, using a particle layer.
If you examine these blobs, you’ll see that they are all semi-transparent,
and have the soft edges fill effect applied to them. In addition, the blobs
all have a simple animation applied to them - over the course of 48
frames, they spread out horizontally. You can play back the animation to
see this happen.
Using A Particle Layer
In the Layers window, create a new layer. Select “Particle” from the new
layer popup menu. Particle layers are kind of like Group layers - they can
contain sub-layers. Drag all four of the original layers into the particle
layer, and your project should look like this:
Play back the animation and see what we’ve got so far. The particles
should be flowing, although they don’t look much like smoke at this
point.
Next, double-click the particle layer to bring up the Layer Settings dialog.
Click the tab marked “Particles”. In this area, set the following values
and click OK:
•
Particle lifetime: 48
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Orient particles: unchecked
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Velocity: 0.3
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Velocity spread: 0.05
•
Acceleration: Turn knob to point to the right, or enter 0..5
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Rate: 0.5
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rotate to follow the direction they are moving in. Their initial velocity is
moderately slow, and there is a gentle acceleration to the right (a soft
breeze).
When you play back the animation now, the motion of the particles
should look more like the flow of smoke from a smokestack. You should
export the animation as a QuickTime or AVI file to see how the blur and
semi-transparent effects combine to create a smokey appearance. The
reason four different particle types were used is that each has a different
gray level, and combining them leads to a mottled, dirty effect.
Tutorial 6.2: Particle Tricks - Grass
and Crowds (Anime Studio Pro
Only)
This tutorial shows how to use particle layers for something other
than swarming insects, smoke, or fireworks. Using the correct settings,
particle layers can also be used to produce clusters of many objects, but
without making them fly around like particles usually do. Fields of grass
and crowds of people are just two possibilities that we’ll explore.
Particle settings.
These settings tell the particle system that each particle should last
for 48 frames after being created, and that the particles should not
Effects
To get started quickly with this tutorial, start by opening the project file
named “Tutorial 6.2”, located in the “Tutorials/6 - Effects” subfolder
within the main Anime Studio folder. This file has a particle layer that
we’ll modify to simulate a field of grass. The layers in this file are set up
as shown:
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The particle layer “Grass” in this file is currently set up with the default
settings for a particle layer. The sub-layers (Layer 1 - Layer 6) are each a
single blade of grass. Each one has a slightly different color and shape to
create variety. If you play back the animation, you’ll see that the default
particle layer settings aren’t very good for a field of grass - the grass
particles fly up in the air and then sink downwards. All we have to do is
make a few small changes to get the grass to look right.
Changing Particle Settings
The editing view should look like this to begin with:
Double-click the Grass layer to bring up the Layer Settings dialog. Click
the Particles tab to access the settings for the particle layer.
Below we describe why each of the settings is set the way it is. Any
settings that aren’t mentioned below don’t matter for this situation
(for example, orient particles doesn’t matter since the particles have no
velocity).
Change the settings to match the ones below and click OK.
Starting point in editing view.
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Particle Count: 500. We need a lot of particles for a field of
grass
•
Preview Particles: 20. In the working view, only show a few
particles in order not to slow down Anime Studio
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Lifetime (frames): 0. A lifetime of zero means that particles
will never die out (disappear).
•
Source width: 3. Make the source nice and wide to cover the
width of the screen
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•
Source height: 0. It’s a flat field of grass, so the height is zero
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Source depth: 1. Spread the particles out in the Z direction for
a feeling of depth
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Velocity: 0. Set to zero to prevent the grass blades from flying
around
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Velocity Spread: 0. Set to zero to prevent the grass blades
from flying around.
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Acceleration: 0. Zero acceleration, again to prevent the grass
blades from flying around
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Rate: 0. Again to prevent the grass blades from flying around
•
Randomize playback: Checked. Plays back the blades’
animations randomly, otherwise they would be in sync.
Grass particle settings
Besides scattering particles in the Z direction, when source depth is set
to a non-zero number, the particle layer will sort particles according to
depth - this is very important for the kinds of animations we’re working
with in this tutorial. We wouldn’t want far away blades of grass to
appear in front of closer ones. Randomize playback makes the grass
look better than if all the blades were moving in sync, but it can be even
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more important when working with a crowd of people, as we’ll see later
in this tutorial.
In preview mode, it doesn’t look like much, so you may want to try
playing back the result and rendering it out as a movie file:
OK, the grass is almost finished. All we need to do is use the Translate
Layer tool to move the Grass layer downwards so that it sits on the
ground:
Translate Layer\
Final render.
Crowds of People
Grass lowered into place.
Now we’ll show how to use the same general techniques to simulate a
crowd of people. Open the file named “Tutorial 6.2_2”, located in the
“Tutorials/6 - Effects” subfolder within the main Anime Studio folder.
This file is already completed - there’s nothing you need to change in
this file, it just shows another example of using particle layers.
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The Crowd layer has the same basic settings we used for the field of
grass, only using fewer particles. Each of the sub-layers in the crowd
was created from one layer with a simple cycling animation. This one
layer was duplicated and had some colors changed just for variety. The
“Randomize playback” setting for the particle layer is really important
for this crowd - if it was turned off, then each character in the crowd
would move in sync with all the others (you can try this yourself). This
may be desirable in some cases, but here we want each character
to move independently, even though they all have the same basic
movement. Play back the animation or render a movie file to see how it
all comes together. (By the way, depth of field is enabled in the Project
Settings dialog - that’s why some of the closer or farther characters
appear a bit blurry.)
Tutorial 6.3: Using Pre-made
Particle Effects (Anime Studio Pro
Only)
This tutorial shows how you can use the included scripting commands to
make use of pre-made particle effects like smoke or explosions.
Studio, expand the “Rocket Group” layer in the Layers window, and you
should see something like this:
A crowd as particles.
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Try playing back the animation to see what we’re starting with - it’s just
a simple animation of a rocket flying around the screen for a little while.
When you’ve seen enough, rewind the animation back to frame 0.
the smoke effect. The combined layers will end up grouped together
in a group layer called “Smoke”. Move this new Smoke layer into the
“Rocket Group” layer, just below the “Rocket” layer. The Smoke layer
should end up positioned like this:
Add the Smoke Effect
Now we’ll add a smoke trail behind the rocket. Select the Scripts >
Particle Effects > Smoke... menu command. A dialog will appear
asking you to customize the smoke effect. Use the settings shown below
for the smoke and click OK:
Smoke layer added to group.
The final step is to move the smoke into place. Activate the Translate
Layer tool and move the Smoke layer so that it sits just behind the
rocket. The smoke itself won’t immediately move until the animation is
updated, so watch the origin of the Smoke layer and line it up behind
the rocket. Feel free to zoom in close to get a better view:
Smoke settings.
The smoke script will then generate a bunch of layers that make up
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Translate Layer
The final result.
Another Effect - Sparkles
Smoke layer moved into position.
That’s it! You can now export the animation as a movie file to see the
fully rendered result. Some of the particle effects in the script menu,
including smoke, can take a long time to render. In “Tutorial 6.4:
Speeding Up Particle Effects (Anime Studio Pro Only)” on page 131 we’ll
show you a way to speed up complex particle effects.
Effects
Here’s an example of another particle effect - the Sparkles script. A
great use of this effect is for magic wands. The fully finished file can be
opened in Anime Studio if you wish. It’s called “Tutorial 6.3_2”. Here’s
what the rendered result looks like:
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Open this file in Anime Studio and play back the animation. To see the
full effect, you would need to export the animation as a movie file. You
can try this now, but trust us, it’ll take a while to export this file. Here’s
what the final movie would look like:
The Sparkles effect.
Tutorial 6.4: Speeding Up Particle
Effects (Anime Studio Pro Only)
In “Tutorial 6.3: Using Pre-made Particle Effects (Anime Studio Pro
Only)” on page 128 we showed how you can use Anime Studio’s included
particle effect scripts to easily add effects like smoke and explosions. The
only drawback to these effects is that they can take a very long time to
render. In this tutorial, we’ll show you a way to speed up the exporting
of complex particle effects.
For this tutorial, we’ll start by taking a look at a finished animation of
an explosion effect. Open the file named “Tutorial 6.4” located in the
The exported explosion.
Preparing a Movie for Re-use
Our goal is to re-use this explosion in another Anime Studio animation,
but make it a lot faster for rendering. To do this, we’ll export the
explosion animation as a movie file, using some special settings. Export
this animation as a QuickTime movie, using the following options:
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Compression options.
Export options.
The key here is the “Do not premultiply alpha” option.
This prepares the alpha channel in the exported movie for further
compositing. When the QuickTime compression dialog appears, select
the PNG codec, and “Millions of Colors+” as shown below. The “+”
is QuickTime’s notation to include an alpha channel in the exported
movie.
Effects
When the movie is finished exporting, you can try playing it back. You
can also open the file that is provided called “explosion.mov”, located
in the “Tutorials/6 - Effects” subfolder within the main Anime Studio
folder. You’ll see that it looks pretty strange - this is because we didn’t
premultiply the alpha channel. But don’t worry, once the explosion is
composited back in, it’ll look just right.
Using Movies in Image Layers
Next, start a new Anime Studio project file. In this new file, drag the
“explosion.mov” file into the main Anime Studio window. A new
Image layer will be created. Use the Translate Layer tool to move the
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explosion off to the side a bit:
Translate Layer
A second explosion layer.
Repeat this process a few more times - advance the time a little bit, drag
in another explosion, and position the explosion in the frame. Do this
until the view is just full of explosions:
New explosion layer.
Next, advance the current time to frame 12, and drag the explosion.mov
file into the main Anime Studio window again. Another image layer will
be created - move this layer off to the other side:
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in a creative way.
Lots of explosions.
When you’ve got as many explosions as you want, export the animation
as a QuickTime movie. Notice that even though the single explosion
took a long time to render, this combined set of explosions renders fairly
quickly. This is because the explosion effect has already been created for the combined effect, Anime Studio just needs to composite several
explosions together. Using this technique, you can greatly speed up the
time it takes to export an animation that uses one or many complex
particle effects.
Tutorial 6.5: Perspective Shadows
In this tutorial you’ll learn a little trick to create perspective shadows.
This trick depends on Anime Studio’s layer masking feature, and uses it
Effects
Play back the animation to get an idea of what you’re starting with.
When you’ve seen enough, rewind the animation back to frame 0. What
we’re going to do in this tutorial is give Lenny a shadow.
Moving a Layer Into Perspective
We’re going to create a shadow that matches Lenny exactly. At Frame 0,
start off by duplicating the “Lenny Skeleton” layer, using the Duplicate
Layer button .
Move this new copy below the original “Lenny Skeleton”, name it
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“Lenny Shadow”, and add a new vector layer inside it as shown below.
Make this new layer active, and name the new layer “Shadow.”
New Lenny Shadow with Shadow layer.
Rectangle in Shadow layer.
In the new Shadow layer, draw a simple rectangle that takes up about
2/3 of the left side of the visible area, as shown below. Choose Black for
the Fill and Stroke colors if they aren’t selected already. The idea is to
completely surround Lenny, with enough extra space for when he moves.
Shear Layer Tool
We’re going to temporarily hide the black shadow layer so that you can
use the copy of Lenny to shear and reposition him for the shadow. To
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hide the black rectangle, click the Visibility icon to hide the Shadow layer
as shown below.
Temporarily hide the Shadow layer.
Next, select the “Lenny Shadow” bone layer and use the Shear Layer
tool to shear the lower copy of Lenny so that he leans to the right as
shown below: You can also enter an X value of .60 or thereabouts in the
Shear Layer tool options in the status bar.
Shear the lower copy of Lenny.
Now use the Scale Layer tool to scale the “Lenny Shadow” layer down
vertically. Be sure to leave it the same size horizontally - we just want it
shorter vertically, as shown below:
Scale Layer
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Scale down the shadow layer.
Position the shadow layer.
The “Trick”
So far we have two copies of Lenny, with the lower one shifted into
perspective. Here comes the trick with layer masking.
Translate Layer
Next, use the Translate Layer tool to move the “Lenny Shadow” layer
into position so that the back heels of the two Lennys line up like this:
First, click the Visibility icon in the Shadow layer to make the sheared
black rectangle visible again.
To turn on masking, double-click the “Lenny Shadow” layer and in the
Masking tab, set the “Group Mask” setting to “Hide all”.
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Mask settings for the Lenny Shadow layer.
Next, double-click the Lenny layer and in the Masking tab, set the “Layer
Masking” setting to “+ Add to mask, but keep invisible”. The result of
these settings is that the big black rectangle will now be masked against
the shape of Lenny himself:
The shadow mask effect.
Mask settings for the Lenny layer.
Effects
The final touch is to refine the appearance of the shadow. Double-click
the “Lenny Shadow” layer. In the Layer Settings dialog, set the Blur
radius to 8 and Opacity to 50. That finishes the shadow effect - you can
now export the animation as a movie file.
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two possibilities we’ll look at.
subfolder within the main Anime Studio folder. Render this file to see
what it looks like to start with:
The adjusted shadow, rendered.
The final result is also included as an Anime Studio project file. It’s called
“Tutorial 6.5 Final” - take a look at it if you have any trouble following
the directions above. It’s important when using this trick to animate your
subject first before you add the shadow - that way the shadow will also
be animated, leading to a more realistic effect.
Tutorial 6.6: Shadow Tricks
This tutorial shows you how the layer shadow options can be used to
create visual effects other than shadows. Glows and outlines are the
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Basic Layer Shadow
Before we try any tricks, let’s take a look at a basic layer shadow.
Double-click the only layer in this file, Layer 1, to bring up the Layer
Settings dialog. Go to the Shadows tab, and leaving all the other
settings alone, turn on the “Shadow on” checkbox. Click OK to dismiss
the dialog.
Layer shadow.
Layer Glow
Default shadow settings.
Try rendering the scene again, just to be sure that you have an idea what
a regular layer shadow looks like in Anime Studio:
Effects
Now we’ll change the shadow settings to create a glow effect. Doubleclick Layer 1 again to bring up the Layer Settings dialog. Change the
Layer Shadow settings to match the values below:
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Layer glow.
Glow settings.
An offset of 0 means the “shadow” will be centered under the layer
that is casting it. With an offset of 0, the shadow direction has no
significance. A high blur value gives the glow a nice soft edge. Finally,
the expansion parameter tells Anime Studio to expand the shadow,
making it bigger than the layer itself. Without expansion, the glow
would just barely extend beyond the edge of the layer. The exact color
you choose is not important - just be sure to make the color opaque
(Alpha = 255). A transparent glow may be too faint to see. Render the
scene again, and it should look like this:
Layer Outline
Let’s change the shadow options once again to create an outline effect.
Some styles of animation use a heavier outline around the outside of
objects than for interior lines. Adjusting the layer shadow values in the
right way can make this style very easy to accomplish. Double-click Layer
1 again to bring up the Layer Settings dialog. Change the Layer Shadow
settings to match the values below:
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Layer outline.
Outline settings.
Again, we use an offset of 0 to keep the “shadow” centered under
the layer. A blur value of 0 is used to keep a hard edge on the shadow.
Finally, the expansion parameter is used in this case to set the width of
the outline effect. For this effect, it’s important to make the color totally
black and totally opaque (Alpha = 255) to match the interior lines.
Render the scene again, and it should look like this:
Effects
Tutorial 6.7: Camera and Depth
Effects
This tutorial demonstrates Anime Studio’s camera tools. These tools allow
you to move an entire scene around as if you were pointing a camera at
it. With a little setup work, you can even create different layers of depth
in the scene.
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grouped. When you move the camera around, it affects all the layers in
a project. In the tool options area at the top of the main Anime Studio
window, click the Reset button to reset the camera.
Creating Depth
Now we’ll introduce some depth into the scene. Activate the Translate
Layer tool and select the layer called “Right Hill”.
Translate Layer
This file contains a few layers of simple scenery that we will move the
camera across. To do this, select the Track Camera tool and drag the
mouse around in the main editing area.
change the Z value to -1 and press Enter. Below you can see where to
set the Z value for the layer.
Setting a layer’s Z value.
Track Camera
Now select the “Left Hill” layer, and set its Z value to -2. Finally, select
“Sky”, and set its Z value to -20. When you’re finished, your scene
should look similar to the following figure.
Notice how all the layers move together, even though they aren’t
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This tool allows you to examine your scene in 3D, from outside the view
of the virtual camera. In this case, notice how the different layers are
spaced apart in the Z direction - this is what creates the sense of depth
from the camera’s point of view. The camera itself appears as a small
blue wedge pointing in the direction of view.
Orbit Workspace
When you’ve seen enough, select the View > Reset menu command to
go back to the default camera view.
Right Hill, Left Hill, and Sky layers moved on the Z plane.
Try dragging the Track Camera tool around again and notice the
difference. It’s like driving in a car - nearby objects go by quickly, while
distant objects seem to move slowly. In the tool options area at the top
of the main Anime Studio window, click the Reset button to reset the
camera.
Animating Camera Movement
Now we’ll try animating the camera. Make sure the current frame is set
to 0, and select the Track Camera tool.
Track Camera
Track Camera
Now try dragging the Orbit Workspace tool around the workspace.
Effects
Drag to the left in the main editing area until you set up a view that
looks about like this:
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Camera view at frame 0.
Next, set the current frame to 72, and drag to the right. This will pan the
camera to the left - keep going until you have a view that looks like this:
Track to the left.
Press the Play button in the timeline to play back this simple camera
animation. Notice how the layers of the project seem to pass in front of
and behind each other. This is a simple way in Anime Studio to create a
sense of depth.
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Import a Basic 3D Model
First, we’ll try importing a basic 3D model. Start Anime Studio and create
a new, empty project.
Next, select the File > Import > OBJ 3D Model menu command.
Anime Studio will prompt you to select a file - choose the file named
“3dmodel.obj” located in the “Tutorials/6 - Effects” subfolder within the
main Anime Studio folder. Anime Studio will import the model into a new
3D layer, and you should see something like this:
Tutorial 6.8: Using 3D Models
Although Anime Studio is primarily a 2D program, it is possible to import
3D models and use them in an Anime Studio animation. This tutorial
will show you some of the things you can do with 3D models in Anime
Studio.
Effects
Imported 3D model.
Use the Orbit Workspace tool to rotate around the scene. As you
rotate around the object, notice that it never appears flat from any side
(like a vector layer) - it is a true three-dimensional object.
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- this is a “material” file that Wings 3D created along with the model
itself. You cannot change the colors of a 3D model within Anime Studio.
However, you can change the color and width of the outline in the Layer
Settings dialog, under the “3D Options” tab.
Orbit Workspace
This object was created in a program called Wings 3D. Whether you
choose create models in Wings 3D or another 3D program, be sure to
export them as OBJ files. OBJ is a common 3D file format that most 3D
programs support, and is currently the only 3D format that Anime Studio
can import.
Using 3D Models in a Face
Next, we’ll show an example of how you can use a 3D model in the
construction of a character’s face. One of the limitation’s of Anime
Studio’s 2D nature is that it is difficult to rotate a head in 3D space.
Using a 3D model can solve this problem.
Open the file “Tutorial 6.8” located in the “Tutorials/6 - Effects”
subfolder within the main Anime Studio folder. This is a completely
finished animation - play it back to see what’s going on.
Side view of 3D model.
The colors of this model have been defined in the file “3dmodel.mtl”
Face pointing up and right.
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Textures and Scenery
Anime Studio can also make use of textures on 3D models. You can’t
create the texturing within Anime Studio itself, but if your imported
3D model uses texture maps, Anime Studio will use them when it
imports the model. Now open the file “Tutorial 6.8_2” located in the
This scene makes use of the 3D model “simple_scene.obj”, which in turn
uses a texture map file:
Now pointing down and left.
Notice that unlike most faces in Anime Studio, this one can freely turn
from side to side. This is because the head and nose (the major 3D
structures in a face) are built as actual 3D models. The mouth, eyes, and
ears are all 2D vector layers that have been arranged in 3D space around
the head.
The only other trick involved in getting this character’s head to work
was sorting the head and ears. Notice that the main 3D head shape
and the ears are grouped together. This is so that those three shapes
can be depth-sorted. As the head turns from side to side, one of the
ears often needs to go behind the head layer and then come back in
front, depending on the head’s angle. Depth sorting is used to easily
accomplish this reordering.
Effects
A textured 3D scene.
One of the things you may notice in this scene is that the scenery has
detailed shadows and shading on it. Anime Studio does not provide
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lighting and shading for 3D models. Instead, these effects are part of the
texture map for this 3D model. In this case, a separate 3D program was
used to calculate the lighting effects and “bake them into” the texture
map.
Of course, the other element in the scene is a regular Anime Studio
2D animated character. Although this character is composed of 2D
vector layers, it can be positioned in true 3D space, so it is quite easy to
integrate it into the 3D scene.
Examine a Finished Animation
For this tutorial, we’re going to examine an animation that is completely
finished. Open the file “Tutorial 6.9”, located in the “Tutorials/6 Effects” subfolder within the main Anime Studio folder. The layers in this
file are arranged as shown below:
Conclusion
We’ve looked at just a couple possible uses for 3D layers - with a little
thought you can probably come up with many more. Keep in mind that
Anime Studio is still primarily a 2D program, so don’t expect Anime
Studio to replace a true 3D modeling and animation program. However,
for limited uses, like background scenery or a few parts of a character,
3D layers in Anime Studio can be very useful.
For further information on importing 3D objects within Anime Studio Pro
please visit http://my.smithmicro.com/tutorials/.
Tutorial 6.9: Moon and Clouds
Effect
This animation relies on masking and blurring effects that aren’t
apparent in Anime Studio’s editing view. To see what the final effect
is, either export the animation as an AVI or QuickTime movie. (Because
blurring is a key part of this effect, exporting to SWF is not an option SWF export does not support blurs.)
This tutorial shows you how to create the effect of clouds moving in
front of a moon. Layer masking and blurring is used to create an effect
that is not only good for a moon and clouds, but may inspire you to
think of new ways to use layer masking.
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The trick is to control which moon is visible at which point in time in
the final exported movie. To do this, we use layer masking. Try doubleclicking each of the layers in turn to bring up the Layer Settings dialog
- then, go to the “Masking” tab. You’ll find that the “Sky” group has
masking turned on - by default, all objects are invisible. The “Moon”
layer is set to be immune to masking, while the “Cloud” layer adds to
the layer mask.
The result of these mask settings is that first the “Moon” layer is drawn
- this is the regular, sharp moon - and is not affected by any masking.
Next, the “Cloud” layer is drawn on top of that. When the cloud moves
in front of the moon, it covers up the moon. Finally, the “Blurry Moon”
layer is drawn on top of the cloud. Because of the mask, the blurry moon
only appears on top of the cloud, it is not visible outside of the cloud
object. Even though the blurry moon is in front of the clouds, the effect
looks like the moon shining from behind the clouds.
The final result.
Notice that the moon appears sharp until the cloud moves in front of it.
Then, the parts of the moon obscured by the cloud become blurry. This
effect is easy to achieve using layer masking.
How It’s Done
There are two parts to this effect. First, there are actually two moons
in the animation: The “Moon” layer is the regular, sharp version of
the moon you see in Anime Studio’s editing view. Two layers up is the
“Blurry Moon” layer - this is a duplicate of the “Moon” layer, with some
layer blur applied.
Effects
Here’s another example of the same technique. In this case, we see a
character who appears to be blurred by the smoke passing in front of
him. The exact same blurring and masking trick is used as in the case of
the moon:
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The final result.
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Using Anime
Studio
Using Anime Studio
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Layer Types
Drawings in Anime Studio are vector-based. Vector drawings are
different from pixel-based images (like a photograph) in that they use
lines and curves to represent a picture, rather than a grid of colored
pixels. This difference makes a lot of things easy in Anime Studio that
would be difficult or impossible to do with a pixel-based image.
First of all, since an Anime Studio drawing is represented as a bunch
of curves, you can reshape the curves at any time, without ever losing
precision. Also, Anime Studio projects are relatively small, even for
complex animations - this means Anime Studio doesn’t require much
memory even when working on a long movie. Vectors also have benefits
when it comes to animation. By moving just a few points, you can
totally change the shape of an object over time.
You’re not restricted to vector artwork, though - Anime Studio also has
Image Layers. Using this type of layer, you can work with regular images
within an Anime Studio project. So, Anime Studio is not strictly vectorbased, but you will probably still use mostly vector layers, as image
layers are not as flexible when it comes to animation.
Of course, most standard image and movie formats are not vectorbased, so when you’re done working on a Anime Studio project, it must
be “rendered” to create a traditional pixel-based image. During the
rendering process, Anime Studio can apply various effects to the objects,
such as shading and blurring.
Anime Studio is designed in such a way that projects are split into
“layers”. You can have many, many layers in a Anime Studio project,
each representing a different element in a scene or animation, such as
background scenery, a character, or a title. Some layers can even contain
other layers, so a more complex object, such as a character, might
contain separate layers for each arm and leg. Anime Studio currently
supports the following types of layers:
•
Vector Layers are used to hold vector-based artwork. These are
the main type of layer you will use to create drawings. See “Vector
Layers” on page 154 for more information.
•
Image Layers can be used to bring in images from other
applications. Image files created in 3D programs or photo editing
applications can be used in Anime Studio with Image Layers. See
“Image Layers” on page 155 for more information.
•
Group Layers (Anime Studio Pro only) are used to group
together multiple layers. If you created 20 layers with trees for
example, you could put them all in a Group Layer and call it a
forest. Group layers are a useful tool for organizing a complex
project. See “Group Layers (Anime Studio Pro Only)” on page 156 for
more information.
•
Bone Layers contain skeletons that are used to control the
artwork in your vector and image layers. You manipulate skeletons
as if they were “puppets” by bending arms and legs to make a
character move. See “Bone Layers” on page 156 for more information.
•
Switch Layers are just like Bone layers, except they will only
display one of their sub-layers at a time. Switch layers are an
excellent way to perform lip-sync animation. Which sub-layer gets
displayed is controlled by a switch data file. You can create this
data file by hand, or better yet, use a lip-syncing program like
Papagayo. See “Switch Layers” on page 158 for more information.
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•
Particle Layers (Anime Studio Pro only) are used as a way to
simulate water, sparks, smoke, crowds, or any number of effects
that can be made up of many small objects. A Particle layer behaves
somewhat like a Group layer, but instead of displaying each of
its sub-layers, it can display many, many copies of each sub-layer
arranged in sort of a “spray” formation. The sub-layers appear to be
moving outward from the origin of the Particle layer. See “Particle
Layers (Anime Studio Pro Only)” on page 160 for more information.
•
3D Layers (Anime Studio Pro only) can be used to import 3D
objects that were created in a 3D modeling program. 3D models
can be a good source of background scenery. Or, use a 3D model
for a character’s head, and decorate it with eyes, mouth, etc.
created with Anime Studio’s vector layers. See “3D Layers (Anime
Studio Pro Only)” on page 162 for more information.
•
Note Layers (Anime Studio Pro only) are like sticky notes in
Anime Studio. You might use a note layer when you want to leave
a note for yourself or another animator. For example, you might
create a note layer at a particular frame that needs some work, or
to describe why a character is set up in a particular way. See “Note
Layers (Anime Studio Pro Only)” on page 162 for more information.
•
Audio Layers allow you to add a sound file to your project.
When adding an audio layer you will be prompted to select an
audio file.
Layer Types
Vector Layers
Vector layers are the most common layer in Anime Studio projects.
Artwork that you create in Anime Studio is always contained in a vector
layer. Tools are available for drawing and editing curves, setting up fills
and outlines, and connecting your drawings to bones.
Vector Layers
The tools available for working with vector layers essentially make
up a 2D drawing program. You can draw lines and curves, re-shape
existing curves, and manipulate objects in various ways. There are a
couple ways that Anime Studio differs from other drawing programs.
First, everything you draw in Anime Studio is a set of points and curves.
In many programs, when you draw a circle, you get a circle object, or
you may type some text to create a text object. In Anime Studio, once
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you’ve created the circle or the text, there’s no difference between
them whatsoever - they’re both collections of curves. One happens to
be in the shape of a circle, and the other in the shape of some There
are advantages in treating all objects the same: first, you never have to
worry about what type of object you’re working with - the answer is
always the same: a set of points and curves. The other advantage is that
any operation you can perform on hand-drawn curves can be performed
on text, or a circle, or whatever.
The other feature of Anime Studio’s drawing mode that is different from
many other drawing programs is the concept of “welding”. In Anime
Studio, two points can be “welded” together into a single point. In fact,
any number of points can be welded together. When points are welded
together, moving one of them moves them all, along with any curves
that pass through that point. This is particularly useful when you start
to animate objects. For example, if you want to move a character’s nose,
then welding it to the face might not be a bad idea. That way, however
you distort the nose or the face, they’ll always stay connected.
Image Layers
Image layers are a way of importing artwork into Anime Studio that
was created in other programs. Any program that can produce image
files can be used together with Anime Studio this way. For example, a
painting program, photo editor, or 3D modeling program can produce
images that can be used in an Anime Studio image layer. You can’t edit
the pixels of one of these images in Anime Studio, but you can move,
resize and rotate image layers, and attach them to skeletons for more
complex animation.
Image Layers
The best image format to use with Anime Studio is PNG. PNG files have
high quality, good compression, and support full alpha channels for
transparency effects. Although PNG is the preferred format for use with
Anime Studio, you can also use JPEG, BMP, Targa, or GIF images.
Image layers can also be used to bring external movies into Anime
Studio. Instead of selecting a still image, select a movie file when
creating a new image layer. Anime Studio can import QuickTime
(Windows and Mac OS) or AVI (Windows only) movies as image layers.
When importing a movie file, Anime Studio will use the movie’s alpha
channel (if present) to composite the movie with other elements in the
scene.
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Group Layers (Anime Studio Pro
Only)
Group layers are used to group together multiple sub-layers so that
they can be manipulated as one. They’re also very useful for organizing
complex projects. You can think of a group layer as a “folder” that can
contain files (layers) and other folders (more group layers). When you
move a group layer, turn it invisible, or apply an effect (such as a layer
shadow), these are all applied to every layer contained within the group.
Bone Layers
Bone layers are similar to Group layers - they can both group together
multiple sub-layers that can then be manipulated as a single object.
However, bone layers have an additional feature: In a bone layer, you
can set up a skeleton that can be used to manipulate your artwork. A
skeleton is exactly what it sounds like - an internal structure that can
move the outer, visible portion of your artwork.
Bone Layers
Group Layers
Layer Types
Setting up bones is sort of a pre-animation phase. You don’t draw
shapes in Bone layers, you set up controls that will help you animate
later on. The purpose of setting up bones is exactly what you might
think: creating a rigid skeleton inside your drawing. Later on, during
animation, when you want to move an object, bones make the job easy.
By moving a single bone in the arm of a character, for example, the
whole arm will move with it. Around the elbow, the drawing of the arm
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will bend and stay smooth (as long as the bones were set up well with
the Bone editing tools).
Bones by themselves don’t really do much of anything: you can move
them around, but they’re invisible in the final Anime Studio output. To
really make use of bones, they need to be attached to objects in other
layers. This process is covered in “Bones” on page 49, and also “Bone
Tools” on page 194.
When you create a skeleton out of a group of bones, the bones have a
hierarchical relationship. Each bone has a single parent (or maybe no
parent at all, in which case it’s called a root bone), and each bone may
have multiple children. The relationship between parent and children is
that when a parent bone is moved, all of its children move with it. When
a child bone is moved however, it’s parent remains unchanged.
Below is a picture of a skeleton created in Anime Studio. Red arrows
have been added that point from each bone to its parent (the spine has
no parent and is referred to as the root of the skeleton). Note that the
currently selected bone is highlighted in red, and its parent (if it has one)
is highlighted in blue, as shown below.
A skeleton hierarchy.
When you use bones with a vector layer, you need to consider how the
bones and curve control points will interact. When a bone moves, it
moves the points around it as well. Each bone has a region of influence
(which you can adjust). Points move mostly with the bone whose region
of influence they fall within, although other bones can still have an
effect on them. Below is a picture of some points and bones. Notice the
region of influence around each bone. The second picture shows the
same object after the bones have been moved. Notice how the points
follow the bones according to regions of influence (and how the curves
pass smoothly through the points, wherever they move to).
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Moving bones moves the curve control points
A bone and vector setup
Switch Layers
Switch layers are used to group together multiple layers, much like
Group layers. However, switch layers have an interesting twist: only one
of their sub-layers can be displayed at a time.
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37 C
40 C
•
The first line is a header that just tells Anime Studio that the file is
a switch data file.
•
The following lines contain two items each:

the first item is a keyframe.

Switch Layers
One reason you might want to do this is for lip-sync animation. In this
case, each of the sub-layers would correspond to a mouth shape for a
particular sound (“A”, “O”, “TH”, etc.). To control which sub-layer gets
displayed at which frame in an animation, you can to assign a “switch
data file” to the switch layer. An excellent way to create this data file
is by using a lip-sync program. A great (and free!) lip-sync program is
Papagayo.
You can also create a switch data file by hand. To do this, the data file
should look like this:
MohoSwitch1
1 A
2 A
10 B
22 A
The second item is the name of one of the switch group’s
sub-layers. (In this example, the switch layer should have three
sub-layers, named “A”, “B”, and “C”.)
If you make changes to the switch data file outside of Anime Studio,
and you want to incorporate those changes, you will need to re-load the
data file. To do this, double-click the Switch layer in the Layers panel,
and in the dialog that opens up, go to the Switch tab, press “Source
Data” and re-select the data file.
You don’t have to use a data file to work with Switch layers - you can
also control them manually from within Anime Studio. To control which
sub-layer is displayed at any frame in your animation, just right-click on
the Switch layer in the Layers panel. A pop-up menu will appear that
lets you choose which sub-layer to display.
Anime Studio includes several sample mouth sets for doing lip-sync with
Papagayo - take a look at those files to see how a switch layer should
be set up. Also, check out the lip-sync tutorials included in this manual.
Switch layers have a feature that allows for “smooth” switching. To
use this feature, all the sub-layers need to be Vector layers, and they
need to have the same number of control points. Then, when switching,
Anime Studio can smoothly transition between sub-layers. To enable this
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feature, turn on “Interpolate sub-layers” in the Switch layer’s properties
dialog. An example of using this feature is included in one of the mouth
sets mentioned above.
Finally, switch layers can be set up with skeletons, just like bone layers.
More accurately, a switch layer is a bone layer, just a specialized one.
If you add bones to a switch layer, you can use them (for example) to
change the shape of a mouth as it speaks, bending it into a smile or a
frown.
Don’t feel restricted to lip-sync animation with switch layers. They have a
lot of potential uses (controlling eyes, syncing to music & sound effects,
switching between different hand gestures, etc.) - get creative!
Particle Layers (Anime Studio Pro
Only)
Particle layers are a way to simulate such effects as flowing water, fire,
bubbles, or other effects that you can imagine are made up of many
small objects. A particle layer is like a group layer in that it can contain
sub-layers. However, instead of just displaying its sub-layers as they are,
a particle layer will automatically animate its sub-layers so that they
appear to be flowing outward from the particle layer’s origin.
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Particle Layers
The direction that a particle layer sprays its particles is illustrated below.
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working view from slowing down too much)
•
Lifetime (frames): The number of frames before a particle is
“recycled” and sent back to the source. If set to zero, the particles
will keep going for the duration of the animation.
•
Source width: The width of the spray source
•
Source height: The height of the spray source
•
Source depth: The depth of the spray source. If set to a number
greater than zero, then some particles will appear closer to the
camera than others.
•
Velocity: The speed that particles start at (a value of 2 will cause
a particle to cross the entire screen vertically in one second)
•
Velocity spread: The amount of random variation in the
particles’ velocity
•
Damping: This acts kind of like “air resistance”, or backwards
acceleration
•
On at start: Whether the particle layer should be on at the start
of the animation
•
Full speed start: If the layer is on, this checkbox indicates if it
should be running at “full speed”, or just starting
Particle spray direction.
During an animation, a particle layer can be turned on or off. When it is
turned off, no more particles will be created, but those that already exist
will continue to the end of their lifetime. To turn a particle layer on or
off, right-click its entry in the Layers panel. A popup menu will appear to
let you turn the particle layer on or off.
The complete list of settings for a particle layer is as follows. These
settings are accessible in the Layer Properties dialog, under the
“Particles” tab:
•
Particle Count: The total number of particles visible at any one
time
•
Orient particles: If checked, then the particles will rotate to
face the direction they’re moving in
•
Preview particles: The number of particles displayed in the
working view (a smaller number than “Particle count” keeps the
•
Free-floating: If un-checked, then the particles will be tied to
the particle layer if it is moved
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•
Evenly spaced: if checked, then the particles will be released in
even time increments
•
Randomize playback: Normally, particles will start their
animation from the beginning when they are first created. If this
box is checked, then particles will start playback at a random time.
This is useful when simulating things like crowds of people (see
“Effects” on page 122).
•
Direction: An angle indicating direction to spray particles in (see
above figure)
•
Spread: How wide the spray should be (see above figure) (a value
of 360 will cause particles to spray in all directions)
•
Acceleration: The direction of acceleration (straight down
simulates gravity)
•
Rate: The rate of acceleration
3D Layers (Anime Studio Pro Only)
3D layers are a way for you to import true 3D models into Anime Studio.
When a 3D layer is rotated in space (or the camera moves around it),
you actually see that backside of the model. Anime Studio supports
importing OBJ files into 3D layers - OBJ is a common 3D file format that
most 3D programs can read and write.
When importing OBJ files, Anime Studio will also load any associated
material file, importing the objects’ colors and texture maps.
3D layers can also be used with skeletons. Using a bone layer, you can
Layer Types
warp a 3D model by moving bones around. Keep in mind that while
3D layers are truly three-dimensional, bone layers are only 2D. So, any
manipulation you do with bones is going to be limited to some degree.
Because Anime Studio is not a true 3D program, not all 3D features are
supported. In particular, lighting. Any 3D model you import will be flat
shaded. However, because Anime Studio does support texture maps, you
can simulate lighting if a texture map has lighting effects “baked” into
it.
There are lots of quality 3D programs we recommend for use with Anime
Studio Pro. The following are products that will work well with Anime
Studio Pro:
•
Poser
• Amapi
For further information on importing 3D objects within Anime Studio Pro
please visit http://my.smithmicro.com/tutorials/.
P.S. When preparing a 3D model for use with Anime Studio, it’s usually
a good idea to triangulate the model before exporting it as an OBJ file.
This will eliminate any problems with concave or complex faces.
Note Layers (Anime Studio Pro
Only)
Anime Studio’s Note layers work kind of like sticky notes. You can add a
note layer to remind yourself of something you need to work on, or to
explain to other animators some important aspect of your project file.
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If you add a note layer at a frame other than zero, the note will only
appear starting at that frame. That way, you can add notes that refer to
specific parts of your animation (ex. “Use more exaggeration here!”).
Audio Layers
Audio layers allow you to add an audio file to your project. You will
be prompted to select a file after choosing this layer type. A graphic
representation of the audio file appears in the timeline after the file is
selected.
Note Layers
By default, Note layers do not appear in final rendered output, so your
audience doesn’t need to see your comments to yourself. However, if for
some reason you do want a note to appear in the final product, you can
do that by un-checking “Don’t render this layer” in the Layer Settings
dialog.
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Tool Groups
Tool Overview
Anime Studio’s tool categories
Anime Studio’s toolbar window holds all the tools you can use in the
main working area. The tools are grouped into five categories: Draw, Fill,
Bone, Layer, Camera, and Workspace. These groupings are illustrated
below:
Anime Studio’s tool groups.
Each of the tool groups has a section in this manual describing its tools
in detail. As an overview, here is the role of each tool group:
Tool Groups
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•
Draw Tools are used to draw and modify your artwork in vector
layers. See “Draw Tools” on page 165 for more information.
•
Fill Tools are used to apply color to your drawings. These tools
are also only used in vector layers. See “Fill Tools” on page 182 for
more information.
and dragging in the working area of the main window - a few are used
simply by clicking on them, and this is noted below. If you hold the
mouse over a tool, a tooltip will appear with the name of the tool if you
need a quick reminder. Also, most tools have a shortcut key that can be
used to activate them. If a tool has such a shortcut, this will show up in
the tooltip as well.
•
Bone Tools are used in bone layers to create and animate
skeleton structures. In other layers, these tools let you assign
objects to bones in preparation for animation. See “Bone Tools” on
page 194 for more information.
If a tool has the following symbol next to it:
, then it can be used for
animation - using the tool at different frames in the timeline will cause
the object you adjust to change over time.
•
Layer Tools are used to animate entire layers. These tools work
with any layer type in Anime Studio. See “Layer Tools” on page 201 for
more information.
Select Points
•
Camera Tools are used to control the virtual camera. These tools
can be used with any layer type in Anime Studio. When you move
the camera, it actually affects your view of every layer in the project.
See “Camera Tools” on page 215 for more information.
•
Workspace Tools are used to change your view of the project.
They don’t actually modify the project - they just help you focus
in on a specific area to help you work on specific areas. See “Tool
Overview” on page 164 for more information.
Draw Tools
Select Points
Select Points options
Draw tools are used to draw and modify vector artwork. The following
tools are available when you’re working with a vector layer. Most of
these tools are used by selecting them from the toolbar then clicking
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Select Points Tool Options
•
Select Group: Used to select a group that was previously
created with the Select Points tool.
•
Text Field: Assigns a name to the currently selected group of
points.
•
Create: Creates a group from the selected points.
•
Delete: Deletes the currently selected group from the selection
list.
•
Lasso Mode: When checked, allows you to draw a lasso
around the points you want to select. When unchecked, selects a
rectangular area.
•
Flip Horizontally: Click this button to flip horizontally.
•
Flip Vertically: Click this button to flip vertically.
Using the Select Points Tool
Many of the following tools work only on the currently selected points.
This is the tool you use to select/de-select points. This tool can be used
in a few different ways. The most basic way to select points is to drag
a rectangle around them. Also, using this tool you can click on a single
point to select it. The third method of selection is to click on a curve to
select the entire curve. Finally, clicking on a filled-in area will select an
entire object. Each of these selection methods is illustrated below:
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Selection methods.
Below is a short movie clip showing the different ways to select points
using the Select Points tool.
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page 225.
The currently selected points may be deleted by pressing the Delete or
Backspace keys.
Translate Points
Translate Points
Different methods of point selection.
Modifier keys:
•
By holding the Shift key, you can extend a selection. Otherwise,
you will always start a new selection when using this tool.
•
Holding the Alt key will prevent this tool from selecting curves
or shapes when you click on them (sometimes when things get
crowded it’s hard not to click on a shape by accident).
If you hold down the Ctrl key, this tool will work in “lasso” style.
(You can also activate lasso style selection by turning on “Lasso
mode” in the tool options area.)
The selection commands in the Edit menu are also very useful for
managing selections. These are described in “Anime Studio Menus” on
Translate Points options.
Translate Points Tool Options
•
•
Position X: Allows you to numerically enter a value for the X
coordinate.
•
Position Y: Allows you to numerically enter a value for the Y
coordinate.
•
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•
Reset: If pressed at Frame 0, resets a layer back to its default
value. If pressed at any other frame, resets the layer to the value or
values set at frame 0.
•
Auto Weld: When checked, automatically welds a new point to
an existing point. The existing point is highlighted when the mouse
hovers over a point that can be welded.
•
Auto Fill: When checked, automatically fills a closed shape when
you create it.
•
•
Using the Translate Points Tool
The Translate Points tool is used to move a group of selected points. It
operates only on the currently selected points, unless fewer than two
points are selected - then it operates on the nearest point to where you
clicked.
It’s important to note that this tool, like most of the Anime Studio
drawing tools, modifies points, not curves. If you select all the points in
an object and use this tool, the entire object will move. However, if you
only select some of the points, then you’ll end up distorting the object
(which can be very useful). In the pictures below, the selected points are
highlighted in red. Notice the effect of using the Translate Points tool on
these points.
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Top circle fully selected. Bottom circle partially selected.
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of a curve, just drag it on top of another point and let go of the mouse.
Below is a movie demonstrating auto-welding. After dragging each
endpoint into place, it becomes welded to the existing point, and the
two can be moved around
After translation.
Holding the Shift key while using the Translate Points tool will constrain
the selected points to only move vertically or horizontally.
The Translate Points tool can also be used in conjunction with Anime
Studio’s welding feature. To weld two points together, use the Translate
Points tool to drag one point on top of another (you must drag just one
point to weld, not a group of points). While dragging the first point on
top of the second, press the spacebar to weld them together into one
point.
Using Translate Points and auto-weld.
Nudging: When this tool is active, you can “nudge” the selected point(s)
by small increments by holding down the Ctrl key and pressing the
arrow keys. Hold down Shift in addition to Ctrl to nudge the point(s) by
a greater increment.
If the “Auto-weld” option is turned on in the tool options area, Anime
Studio can automatically weld points for you. Only the endpoint of a
curve can be automatically welded. To automatically weld the endpoint
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Scale Points
•
•
Using the Scale Points Tool
Scale Points
Scale Points options
Scale Points Tool Options
•
•
Scale X: Allows you to enter a numeric value for scaling along
the X axis.
•
Scale Y: Allows you to enter a numeric value for scaling along
the Y axis.
•
Modify: Click to apply the values entered in the Scale X and
Scale Y fields
•
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The Scale Points tool operates on the currently selected group of points.
Two or more points must be selected to use this tool. When this tool
is active, a red box will appear around the currently selected group of
points. The handles around the edges of this box allow you to resize
the points. Drag a corner handle in and out to scale the points while
maintaining their proportions. Drag one of the side handles to change
the horizontal scale, or the top or bottom handle to change the vertical
scale. If you hold the Alt key while dragging a side handle, Anime Studio
will resize the selected points in such a way to maintain the overall
volume of the object - this can be useful for squash and stretch.
Rotate Points
Rotate Points
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Add Point
Rotate Points Options
Rotate Points Tool Options
•
•
Rotation: Allows you to enter a numerical value for rotation.
•
Modify: Click to apply the value entered in the Rotation field
•
•
•
Using the Rotate Points Tool
The Rotate Points tool also operates on the currently selected group
of points. Two or more points must be selected to use this tool. Click
near the outer boundary of the selected group of points. Next, drag the
mouse in a circle around the selection to rotate the points. Holding the
Shift key while using the Rotate tool will constrain the rotation to 45
degree increments.
Add Point
Add Point Options
Add Point Tool Options
•
•
•
you create it.
•
Sharp corners: When checked, creates sharp corners when
changing the angle of a line. When unchecked, creates smooth
transitions when changing the angle
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Using the Add Point Tool
The Add Point tool is what you use to draw most curves in Anime Studio.
Just click and drag in the working area of the main window to create
a new curve segment. There are four variations to using the Add Point
tool - they differ in where the original click takes place. The first way to
use this tool is to click in empty space and drag - this will start a new
curve. The second technique is to click on the end of an existing curve
to add another segment to that curve. Third, click on a curve segment to
add a point there, then drag it to the final desired position. Finally, click
on a curve midpoint to add a new branching curve that is welded to the
existing point. Each of these uses of the Add Point tool is shown below.
drag in one of the ways described above to add a new point. Drag the
new point on top of an existing point, and press the spacebar before
releasing the mouse. An example is shown below. (This works just like
the Translate Points tool, above. Read about that tool for more details
on welding.)
Closing a curve.
To prevent the Add Point tool from adding on to an existing curve
regardless of where you click, hold the Alt key to force the tool to start
a new line segment.
Uses of the Add Point tool.
The Add Point tool can also be used to weld two points. Click and
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The movie below demonstrates the Add Point tool. Notice how clicking
on different parts of an existing curve causes the new point to be added
in different ways.
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Freehand Options
Freehand Tool Options
•
Freehand Options: Click this button to display the following
options

Pixel Tolerance: The minimum distance between points
when drawing a curve.

Angle Tolerance: Removes points when the angle
between points is less than the value entered.

Variable line width: When set to None, does not vary line
width. You can also vary line width based on pen pressure, or
randomly. The line width will vary between the minimum and
maximum width settings that you specify.

Taper Start: When checked, tapers the start of the line.

Taper End: When checked, tapers the end of the line.

value. If pressed at any other frame, resets the layer to the
value or values set at frame 0.
Using the Add Point tool.
Freehand
Freehand
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shape that has no outline.
•
Auto close: When unchecked, closes a shape when the cursor is
released over the beginning of the shape. When checked, connects
the shape from the current position to the start point when you
release the mouse button.
Using the Freehand Tool
The Freehand tool lets you draw complex shapes by just dragging the
mouse around. You can adjust the sensitivity of the Freehand tool in the
tool options area when this tool is active. In the “Freehand Options”
popup there are two adjustment parameters for this tool. The first is
the minimum distance between points when drawing a curve with the
Freehand tool. This setting is changed in the text box labeled “Pixel
tolerance”.
The second adjustment tells Anime Studio to simplify a freehand curve
by removing unnecessary points. This is controlled in the text box labeled
“Angle tolerance”. Points that deviate from the curve by less than that
angle will be automatically removed. To preserve every single point
created by the Freehand tool, set the angle tolerance to 0.
•
•
you create it.
•
Auto-stroke: When checked, automatically creates a stroke
around the shape that you create. Uncheck this option to create a
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After using the Freehand tool, you will often want to go back and use
the Translate Points tool to modify the result, delete unnecessary points,
and weld points together. If you have a drawing tablet, the Freehand
tool can also use the pen pressure from your tablet to control the
thickness of the lines you draw (Windows and Mac OS only).
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Draw Shape
Rectangle
Rectangle
Draw Shape
Draw Shape Options
The Rectangle tool is a shortcut for creating a rectangular shape. Just
click and drag to draw a rectangle. Hold the Shift key to constrain the
shape to a square. Hold the Alt key to make the click point the center
of the rectangle, instead of one of its corners. There’s nothing special
about rectangles created with this tool - they’re just four points and
four curve segments and can be manipulated just like anything else. You
could create the same shape with the Add Point tool, but for a simple
rectangle, this tool is quicker.
Oval
Draw Shape Tool Options
•
you create it.
•
Auto-stroke: When checked, automatically creates a stroke
around the shape that you create. Uncheck this option to create a
shape that has no outline.
Oval
The Oval tool is a shortcut for creating an oval shape. Just click and
drag to draw an oval. Hold the Shift key to constrain the shape to a
circle. Hold the Alt key to make the click point the center of the circle.
There’s nothing special about ovals created with this tool - they’re just
four points and four curve segments and can be manipulated just like
anything else. You could create the same shape with the Add Point tool,
but for a simple oval, this tool is quicker.
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Triangles
Spirals
Triangles
Spirals
The Triangle tool is a shortcut for creating a triangle shape. Just click and
drag to draw a triangle. Hold the Shift key to constrain the shape to an
equilateral triangle.
Click and drag to draw a spiral shape. The number of windings increase
as you drag outward. By default the spiral radiates in a clockwise
direction from the center. Press the Alt key to create a counter-clockwise
spiral.
Stars
Insert Text
Stars
The Stars tool is a shortcut for creating a star shape. Just click and drag
to draw a star. Hold the Shift key to constrain the shape to a star with
five equal points.
Arrow (Anime Studio Pro only)
Arrow
Click and drag to draw an arrow shape. Press the Shift key to constrain
the arrow to a horizontal or vertical line.
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Insert Text
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Scatter Brush
The Scatter Brush allows you to spray shapes into your scene. There
are a number of preset shapes, or you can also copy any shape to your
clipboard and spray multiple copies of that shape into your scene.
Insert Text Options
Scatter Brush
Using the Insert Text Tool
To create a text object, just choose the Draw > Insert Text... menu
command. Type in the text you want, select a font, and click OK. The text
will appear in your document, pre-filled with the current fill color and
style, and it can be resized and positioned just like any other object.
Remember: there’s nothing special about a text object. It can be
manipulated just like anything else. This includes using any of the
drawing tools to distort its shape, or to add new points in the middle of
a character. This also means that in order to move or rotate a text object,
you need to select all the points in the object. This is easy to do using
the Select Points tool - just click on the filled in area of the text to select
all of it.
Insert Text Options
Scatter Brush Tool Options
•
Scatter Brush Options: Click this button to display the
following options

Angle Jitter: Specifies the maximum amount of angle
variation in the objects that you spray.

Spacing: Specifies the minimum amount of space between
the objects that you spray.

Color Jitter: Specifies the maximum amount of color
variation for the objects that you spray.
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•
•

Flip X: Check this option to flip the objects being sprayed
along the X axis.

Flip Y: Check this option to flip the objects being sprayed
along the Y axis.
Delete Edge
Preset Menu: Click the Preset menu to choose from a number
of different presets that you can spray into your scene. If you
choose Use Clipboard, the Scatter Brush tool sprays the contents of
your clipboard into the scene.
Min Width and Max Width: Sets the minimum and maximum
width of the objects that you spray. If you want all of the objects
to be the same size, set both values the same. Higher values create
larger objects.
Using the Scatter Brush Tool
Copy a vector object into your clipboard, or select one of the preset
options from the Preset menu. Choose the vector layer that you want
to paint into. Set the Min and Max Width settings appropriately for the
scale of the objects. Set other options in the Scatter Brush Options panel
if you want to increase or decrease variation in the angle, spacing, or
color of the objects you are spraying.
Delete Edge
Using the Delete Edge Tool
It’s easy to delete points - just select them and press backspace or
delete. However, sometimes you may want keep two points, but break
the curve connecting them. To do this, use the Delete Edge tool. Just use
it to click on the curve segment you want to delete and it will disappear.
Note: If the edge you delete makes up part of the outline of a fill shape,
that shape will also be deleted.
Curvature
Curvature
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Magnet (Anime Studio Pro only)
Curvature Options
Curvature Tool Options
•
•
Peak: Creates a peaked (or hard) transition between the curves at
the point that you click.
•
Smooth: Smooths the transition between the curves at the point
that you click.
Using the Curvature Tool
This tool works on the currently selected points, or on the nearest point
if less than two points are selected. It adjusts the level of smoothness of
the curves passing through the selected points. Drag to the left to make
the curves less smooth, and drag to the right to make the curves rounder.
Magnet
Magnet Options
Magnet Tool Options
•
•
Magnet Radius: Sets the radius of the magnet.
•
values set at frame 0.:
Using the Magnet Tool
The Magnet tool is similar to the Translate Points tool - it is used to move
points around. However, instead of moving the selected points, it moves
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points based on the “strength” of the magnet. When you click with this
tool, the region of strength is displayed. Any points within this region
will move with your mouse, but the points closer to the center of the
mouse click will move the most. (The radius of the magnet’s strength
region can be adjusted in the tool options area.)
This tool is most useful for artwork that has lots of points. For example,
the Freehand tool can create curves with many points - the Magnet tool
can then move them around smoothly. Imported Adobe Illustrator files
and text objects can also be sources of many control points.
Perspective Points
Perspective Points (Anime Studio Pro only)
Perspective Points
Perspective Points Options
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Perspective Points Tool Options
•
•
Using the Perspective Points Tool
Click and drag side-to-side to add horizontal perspective to the selected
group of points. Click and drag up and down to add vertical perspective
to the selected group of points.
Although Anime Studio is not a 3D program, the effect of this tool is
similar to rotating the points around a vertical pivot, so that one half of
the group rotates into the screen and the other half out of the screen.
If you want to do a true 3D rotation, you should use the Rotate Layer Y
tool to apply true 3D perspective to a layer.
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Shear Points
Using the Shear Points Tool
Shear Points (Anime Studio Pro only)
This tool works on a group of two or more selected points. Click and
drag left, right, up, or down to shear, or slant the group of points.
Bend Points
Bend Points (Anime Studio Pro only)
Shear Points
Shear Points Options
Bend Points
Shear Points Tool Options
•
•
Bend Points Options
Tool Options
•
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•
values set at frame 0:
Tool Options
•
•
Using the Tool
Drag your mouse up and down to bend the selected group of points up
and down. For best results, the selected group of points should be wider
than it is tall.
Drag your mouse side to side to bend the selected group of points side
to side. For best results, the selected group of points should be taller
than it is wide.
Noise
Using the Tool
The Noise tool works on a group of selected points. Click and drag to
move the points around in random directions. This tool can be used for
example when you want to duplicate an object using Copy and Paste,
but you don’t want the new object to look exactly like the original. Just
use this tool to distort it a little bit.
Fill Tools
Noise
Noise Options
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Using the Fill tools for vector layers, you take the drawings you created
with the Draw tools, and you tell Anime Studio which areas should be
filled with color, where outlines should be placed, and what fill and line
styles to use.
The drawings created with Draw tools are only guides. As far as Anime
Studio is concerned, they’re invisible and they won’t show up in the final
rendered output. That’s where Fill tools come in. Draw tools define the
shape of objects, while Fill tools define the appearance of those
objects. Of course, you’re always free to switch back and forth between
any of Anime Studio’s editing tools at any time.
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To define a region to be filled, you must first select all the points along
its boundary. That’s what defines a fill region - the set of points along
its outer edge. We’ll take a look at some examples later. You can also
create outlines using these tools. Outlines are less restrictive than fills
- an outline is not a set of points along an outer boundary. Instead,
an outline can be any set of points you choose. The curve segments
between these selected points will form the outline.
Fills and outlines are stacked on top of each other in the order you
create them. This determines which fill or outline will be visible when
two or more overlap. There are tools that allow you to change the
stacking order of fills and outlines, but you’ll learn that you can save
yourself a lot of time by planning ahead and creating fills in the proper
order to begin with.
Color Picking
If the Select Shape or Create Shape tools are active and a shape is
selected, you can quickly set the shape’s color by picking it from another
shape in the current layer. Just hold down the Alt key and click on the
shape you want to copy the color from. The color (and style) will instantly
be applied to the currently selected shape.
You can also “push” a shape’s color and style onto other shapes. If you
hold down Alt + Ctrl and click on a second shape, the selected shape’s
color will be “pushed” onto the shape you click on. This is an easy way
to propagate one shape’s color and style onto several other shapes in
the same layer.
Select Shape
Select Shape tool.
Using the Tool
This tool is used to select an existing shape - either a fill or an outline.
Just click on the desired shape and it will be selected. At that point, you
can press the Delete or Backspace keys to delete the shape, adjust
its properties in the Style Window (see “Style Window” on page 274), or
change its stacking order using the fill modifiers described below.
After clicking on a shape to select it, you then have the option to select
shapes lower in the stacking order. Just hold down the Ctrl key and
press the down arrow key to select the next shape lower down at the
point you clicked the mouse. Hold Ctrl and press the up arrow key to
select the next shape higher in the stacking order at that same point.
Create Shape
The following Fill tools are available.
Create Shape
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Create Shape Options
Tool Options
•
•
Create Shape: Press the Create Shape button to complete
the shape. This is the same as pressing the Spacebar after your
selection is made.
•
Lasso Mode: The Create Shape tool selects a rectangular area
by default. Check this option to select points by drawing a lasso
around the desired area.
from the selected edges. The Style Window (see “Style Window” on
page 274) can now be used to choose the shape’s color, line width, style,
etc. This is a very important step - until you press the
spacebar or use the Create Shape button, you are only
preparing the selection. A shape is only created when
the spacebar or button is pressed.
The picture below shows a selection in progress using the Create Shape
tool. Note that the figure on the left is not filled with a checkerboard
because its border points are not all selected. The checkerboard area
indicates the region that would be filled if the user hit the spacebar
at this particular moment. The left figure would only receive a partial
outline and no fill, since then entire border has not been selected.
Using the Tool
The Create Shape tool is used to select a region to be filled with color,
or a set of edges to be drawn as an outline. It operates exactly like
the Select Points tool described in “Draw Tools” on page 165. Using the
Create Shape tool, select all the points that form the outer border of the
shape you wish to create. If you select a set of edges that completes an
enclosed shape, a highlighted checkerboard will show you the extent of
the region you are creating. Otherwise, you will just see a highlighted
outline on the selected edges.
When you have the desired region selected, press the spacebar or press
the Create Shape button in the status bar to actually create a shape
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Selecting the curves to make up a shape.
The next figure shows the result of pressing the spacebar to actually
create the two shapes that were being prepared in the figure above.
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Paint Bucket Options
Tool Options
The two resulting shapes.
After creating a shape, if you decide that you only want a fill, and not an
outline, you can un-check the “Enable outline” box in the Style window.
Similarly, un-check the “Enable fill” box in the Style window to make
your shape have only an outline, and no fill color.
Paint Bucket
Paint Bucket
•
Fill: Select this option to affect fill only.
•
Stroke: Select this option to affect stroke only.
•
Both: Select this option to affect both fill and stroke.
Using the Tool
The Paint Bucket tool is used to fill a closed region with color. Just click
inside a closed shape to fill it with the current combination of colors and
styles. This can make it much easier and quicker to fill shapes than with
the Create Shape tool, but keep in mind you’re still working with the
same requirements - a shape must be completely closed in order to be
filled. Also, the entire shape must be visible onscreen when you use the
Paint Bucket to fill it - if part of the shape is cut off on the edge of the
editing window, it can’t be filled. (You can always change the view to fit
a shape on-screeen before filling it.)
The paint bucket tool works by temporarily filling the region you click
in with a test color. Any edge that touches this test color is considered
selected, and becomes part of the final shape. If you hold the mouse
button down and drag the mouse around, you can get a preview of how
the fill will look when you release the mouse button. Below are some
examples of sets of curves in Anime Studio, where the user might click
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with the Paint Bucket tool, and the resulting fills. In each case, the shape
on the left is the starting shape, the red X indicates the point where the
user clicked with the Paint Bucket tool, and the result is the shape on
the right:
A more complex shape. There are some dead-end curves, but the overall shape is still
closed.
Filling a basic closed outline.
A shape with a hole in it.
Clicking outside a closed outline (nothing happens - no fill).
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Clicking inside the hole fills just the hole.
No fill will be created by any of these clicks. The paint bucket cannot fill an entire
enclosed outline in any of these cases.
The shape is not closed (close, but not good enough) - no fill is created.
Clicking here will not fill the circle, since some of it is off-screen. The paint bucket can
only fill shapes that are entirely on-screen.
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Delete Shape
Line Width
Delete Shape
Line Width
Using the Tool
Using this tool, click on a fill or outline to delete it from the project.
Remember, in Anime Studio, the shape of an object is separate from its
appearance. If you use this tool to delete a fill, the underlying points
and curves will remain. If you want to delete those as well, go back to
the Draw tools to work with the points and curves.
Eyedropper
Line Width Options
Tool Options
•
•
Width: Allows you to enter a numerical value for the line width
Using the Tool
Eyedropper
Using the Tool
To use the Eyedropper, click on a shape to copy its parameters. Hold the
Alt key to push the current color.
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The Line Width tool is used to adjust the width of a line as it passes
through a particular point. Using this tool, you can create lines that
taper at the ends, get thinner in the middle, or change width several
times along their length. To use it, just click on the point you want
to adjust, and drag the mouse left and right to adjust line thickness.
(Be sure you first either set up an outline through the point, or a fill
shape with a non-zero line width - otherwise this tool won’t do you
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much good.) You can adjust more than one point at a time by selecting
multiple points with the Select Points tool from the Draw tool group.
Hide Edge
Hide Edge
Using the Tool
Sometimes, you will have the need to create a fill shape with only a
partial outline. The Hide Edge tool makes it easy to accomplish this. After
creating the fill shape and setting the desired line width, simply click on
the edge(s) that you want to hide - those edges will simply disappear
from the outline, without affecting the fill. Below is a before and after
example:
The Hide Edge tool in action.
Complex Fill Shapes
When creating fills, Anime Studio tries to be clever and ignore selected
parts that can’t possibly be part of the outline of a fill, such as points on
dead-end curves. However, there are times when Anime Studio needs a
little help from you. As an example, take the shape below:
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A complex shape - two curves welded together.
To fill this shape with color, your first thought might be to select the
entire group of points. Unfortunately, Anime Studio recognizes this as a
shape that can’t be filled, and will only allow you to create an outline:
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A shape that can’t be filled.
The reason for this is that a fill is defined by the points along its
boundary. In this case, it’s not obvious to Anime Studio which boundary
you intended. Many times, Anime Studio can figure it out and provide
you with the fill you were after, but in a case like this, you have to be
more specific about what points define the boundary of the shape. The
definition of a fill hasn’t changed - but sometimes your intentions aren’t
as obvious to Anime Studio as they are to you. The following selection
contains only the boundary points of the desired fill region - the points
along the interior curve are not selected:
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A selection that can be filled.
Alternate shape 1.
Here are two other examples of possible fills based on the same set of
curves:
Alternate shape 2.
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Remember, when a fill shape doesn’t look right (or can’t be filled at
all), make sure that you’ve only selected the points along the fill’s
boundary, and nothing else.
The next picture shows a small variation on the one above. In this case,
there’s a smaller circle inside the first one. The rule is the same - we’ve
just added more boundary curves to this fill.
Compound Fills
Remember how a fill is defined: a fill is defined by the set of points
along its boundary. With that in mind, let’s talk about fills with holes. To
create a fill shape with one or more holes inside it, just select the points
along the edge of the hole as well as the points on the outer boundary.
The picture below shows a selection made with the Create Shape tool.
If only the four points of the rectangle had been selected, then the fill
shape would have been a solid rectangle. However, by selecting the
interior curves as well, we can create a shape with holes in it - it’s
simply a matter of defining more boundaries for the fill.
Another compound fill.
There’s no limit to the kinds of shapes you can create this way. By
adding more boundary curves, you can create more and more complex
fills - feel free to experiment.
A Trick: Using Two Fills Instead of One
Sometimes you may want to create an object with parts that overlap in
complex ways. Consider the image below:
A compound fill.
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Two interlocking rings.
After the discussion about stacking order, is the red ring in front of or
behind the blue one? Well, the answer isn’t so simple. There is no way
two objects could be arranged this way with simple stacking. (If Anime
Studio were a 3D program, things would be very different.) The red ring
is in fact two objects - one behind the blue ring, and one in front of it.
The next image shows the same object, but colored differently so that
the two parts of the red ring stand out.
The coloring shows three different shapes.
It takes a little more work to set up an object when you have to split it
into two (or more) parts, but sometimes it’s the only way to achieve a
certain effect. The picture below shows the project in an Anime Studio
window, so that you can see the arrangement of points and curves. Note
how the ring on the right has some extra curves set up so that it can be
split into two fills.
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Bone Tools
Using skeletons to manipulate drawings
The following tools are available when working with Bone or Switch
layers. If a tool has the following symbol next to it:
, then it can
be used for animation as well. In general, tools that are used for bone
setup can only be used when the time is set to frame 0 - others can be
used at any time.
Point and curve arrangement.
This technique is also useful in animation, for when you want an object
to bend backwards and overlap itself. Normally, this would cause the
fill that defined the object to get seriously distorted, or even to break
holes in itself. However, by building the object out of two or more parts
and stacking them properly, you can achieve this type of effect with no
problem.
Select Bone
Select Bone
Select Bone Options
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Tool Options
Translate Bone
For detailed instructions and descriptions of the options in this dialog,
refer to “Bones” on page 49.
Translate Bone
Translate Bone Options
Tool Options
Bone Constraints Options
Using the Tool
Using this tool, you can click on a bone to select it. You might want to
select a bone in order to delete it (press the Delete or Backspace keys
- all of its children will be deleted too). You also might want to select
a bone in order to add new child bones to it. Click anywhere besides a
bone to de-select all bones.
•
Select Bone: Click this menu button to select a bone by name.
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coordinate.
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coordinate.
•
Length: Allows you to view or enter a numerical value for the
length of the bone.
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Using the Tool
Scale Bone
This tool (along with the Rotate Bone tool) is used to reposition bones
after they’ve been created. If you’ve added a new bone in the wrong
place, or you just want to move it later on, click and drag it with this
tool. Clicking near the base of the bone will move its position, while
clicking near the tip will move the tip around, changing the bone’s
length and direction. Note that if the bone has any child bones, they will
be moved as well.
Scale Bone
Holding the Shift key will cause the bone to only move horizontally or
vertically relative to its parent (if you click near the base), or to point in a
direction that is a multiple of 45 degrees (if you click near the tip).
If any objects in other layers have been bound to the bone, they will not
move if the current frame is 0. At frame 0, you are modifying the bone
layout - at later frames you are animating with this tool, and bound
objects will move with the bone.
Nudging: When this tool is active, you can “nudge” the selected bone
by small increments by holding down the Ctrl key and pressing the
arrow keys. Hold down Shift in addition to Ctrl to nudge the bone by a
greater increment.
Scale Bone Options
Tool Options
•
•
Scale: Allows you to view or enter a numerical value for the length
of the bone.
•
Using the Tool
The Scale Bone tool is used to change the length of a bone. This tool
is only available during an animation, not at frame zero. To change the
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length of a bone at frame 0, use the Translate Bone tool and drag the tip
of the bone.
Rotate Bone
Using the Tool
The Rotate Bone tool is used to change the direction a bone is pointing
in. Click the tip of a bone, and drag it in circles around its base to
change its direction. Hold the Shift key to constrain the bone’s direction
to a multiple of 45 degrees.
Add Bone
Rotate Bone
Add Bone
Rotate Bone Options
Tool Options
Add Bone Options
•
•
Angle: Allows you to view or enter a numerical value for the angle
of the bone.
Tool Options
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•
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Text Field: Allows you to assign a name to the currently selected
bone
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Using the Tool
Tool Options
Use this tool to add new bones to a skeleton. The location you click will
be the base of the bone (the point it rotates about), and where you drag
to will be the endpoint. If another bone is selected before you click and
drag, it will be the parent of the new bone you create. Otherwise, the
new bone will be parentless, a root bone.
•
Hold the Shift key to constrain the new bone to point in a direction that
is a multiple of 45 degrees.
Note that bones don’t have to be touching to have a parent-child
relationship. In the example shown in “Bone Layers” on page 156, the
upper arm bones are children of the spine, even though they are
separated from it by a small distance. This will often be the case - arms
should rotate about the shoulders, not the neck, even though they move
when the spine moves.
Using the Tool
Sometimes when building a skeleton, you may accidentally add bones to
the wrong parent. Later, when you discover the error, deleting bones and
adding new ones is just too much work. Instead, use the Change Parent
tool to change a bone’s parent. First, select the bone whose parent you
want to change (using the Select Bone tool). Then, using this tool, click
on the new parent bone. (The new parent will become highlighted in
blue.) If you want to turn the selected bone into a root bone (one that
has no parent), just click on the background.
Bone Strength
Reparent Bone
Bone Strength
Reparent Bone
Bone Strength Options
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Tool Options
•
•
Bone Strength: Allows you to view or enter a numerical value
for bone strength.
Using the Tool
When using bones to control the points in a vector layer or to warp an
image layer, by default every bone has some degree of influence over
every point in the vector layer (or image). The Bone Strength tool lets you
adjust how much influence each bone has. When this tool is activated,
a semi-transparent region appears around each bone - this region
indicates the strength of the bone. If you drag side to side on a bone
with the Bone Strength tool, you cause the region of influence to shrink
or grow. Points that are closer to the center of this region move more
when the bone itself is moved.
Although by default, all bones have some influence over some points,
you can change this behavior. In the Layer Settings dialog, under the
Bones tab, there are two options, “Flexible binding” and “Region
binding”. Flexible binding means that every bone will influence every
point. Region binding, on the other hand, means that a point will only
move under the influence of the bone(s) in whose region of influence
it lies. If that point only lies in one bone’s region, it will only move with
that bone - if the point is overlapped by the regions of two bones, it will
move with both of those bones.
Flexible binding is the default setting for new bone layers because it
works reasonably well almost automatically. The downside is that it
leads to “rubbery” movement of the attached vector artwork. Region
binding will give you cleaner movement, but takes a little more work to
set up. The Tutorials section of this manual shows you how to use the
Bone Strength tool together with both types of binding to quickly set up
a character’s skeleton.
Manipulate Bones
Manipulate Bones
Using the Tool
The Manipulate Bones tool has two purposes. First, when the current
frame is set to 0, it is used to test whether a skeleton is set up and
working properly. Although it moves bones and points around, the
changes it makes are only temporary. When you switch to another tool,
the skeleton is reverted back to its original shape.
The second use of this tool is at frames greater than 0. If the current
frame is greater than 0, then this tool will move the skeleton in the same
way, but the move will introduce a keyframe for animation.
To manipulate a skeleton, just click and drag the various bones that
make it up. If points or other layers have been bound to the bones, they
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will move as well. The way the skeleton and the bound points move with
this tool is exactly the same whether at frame 0 or a later frame. If some
part of the skeleton doesn’t move correctly, you can find out with this
tool and fix it before you start animating.
Note: If you only want to rotate a single bone, it’s better to use the
Rotate Bone tool. The Manipulate Bones tool will move a whole chain
of bones, which is definitely not what you want if you plan to rotate a
single bone.
bind certain points in a vector layer to certain bones, then you should
use the Bind Points tool instead.
Bind Points
Bind Layer
Bind Point
Using the Tool
Bind Layer
Using the Tool
Other layers can be contained within a bone layer. For example, you
could create a “hand” layer and place that within an “arm” layer. To
bind the hand to the arm, use this tool. Just click on the bone in the
parent layer that you want to connect to, and the entire layer will move
with that bone. In the arm/hand example, you would click on the bone
nearest the wrist to bind the hand to the end of the arm.
Use this tool to bind an entire layer to a single bone. If you would rather
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The Bind Points tool operates exactly like the Select Points tool described
in “Draw Tools” on page 165. Use it to select a group of points to bind
to a bone. In order to use this tool, a bone must first be selected.
When a bone is selected, the points that are currently bound to it are
automatically selected as well. Use this tool to add or remove points
from that selected group. When the correct group of points is selected
that you want to bind to the bone, press the spacebar - this tells Anime
Studio to perform the binding.
This tool used to be very important for setting up connections between
bones and points in Anime Studio. However, starting with Anime Studio
5.0, we don’t usually recommend using the Bind Points tool. Instead,
the best way to attach points to bones is to use automatic bone binding,
together with the Bone Strength tool. This technique is demonstrated in
the Tutorials section of this manual.
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Offset Bone
Using the Tool
Offset Bone
Offset Bone Options
Tool Options
•
•
Animation Offset X: Allows you to numerically enter a value
for the amount of offset on the X axis.
•
Animation Offset Y: Allows you to numerically enter a value
for the amount of offset on the Y axis.
•
The Offset Bone tool lets you add an extra amount of bone movement
starting at frame 1 of your animation. The reason you might want to
do this is to simplify the setup of a complex character. Often, parts of
a character such as arms and legs overlap, making it difficult to set up
bones and attach the proper parts of the character’s body to them. The
Offset Bone tool lets you draw the parts of a character in disconnected
positions, set up bones, and then move them all back into position.
It’s difficult to describe the usefulness of this tool without a hands-on
example, so look in the Tutorials section of this manual for character
setup examples.
Layer Tools
The following tools are available to be used with any type of layer. Their
purpose is to modify an entire layer, not just an individual object in that
layer.
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Translate Layer
motion path
•
Flip Layer Horizontally: Click this button to flip horizontally.
•
Flip Layer Vertically: Click this button to flip vertically.
Using the Tool
Translate Layer
Translate Layer Options
Tool Options
•
coordinate.
•
coordinate.
•
Position Z: Allows you to numerically enter a value for the Z
coordinate.
•
•
Show Path: Check or uncheck this option to display or hide the
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Use this tool to move the entire layer. It doesn’t matter what objects are
selected - everything in the layer will move when you use this tool.
Holding the Shift key while using the Translate Layer tool will constrain
the layer to only move vertically or horizontally. Holding the Alt key will
move the layer forward and back (changing its depth, or Z value).
If the “Show Path” box in the tool options area is checked, then the
motion path for the current layer will be displayed in the working area
when this tool is active. This makes it easier to visualize and plan out the
motion of a layer.
Direct Path Editing: To edit the motion path directly, hold down the Ctrl
key, then click and drag anywhere on the motion path to adjust the
curve that the layer will follow through space.
Nudging: When this tool is active, you can “nudge” a layer by small
increments by holding down the Ctrl key and pressing the arrow keys.
Hold down Shift in addition to Ctrl to nudge the layer by a greater
increment.
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Scale Layer
Using the Tool
Scale Layer
Scale Layer Options
Tool Options
•
Scale X: Allows you to enter a numeric value for scaling along the
X axis.
•
Scale Y: Allows you to enter a numeric value for scaling along the
Y axis.
•
Scale Z: Allows you to enter a numeric value for scaling along the
Z axis.
•
•
Use this tool to resize the entire layer. When this tool is active, a red box
will appear on top of the current layer. The handles around the edges of
this box allow you to resize the layer. Drag a corner handle in and out
to scale the layer while maintaining its proportions. Drag one of the side
handles to change the horizontal scale, or the top or bottom handle to
change the vertical scale. If you hold the Alt key while dragging a side
handle, Anime Studio will resize the layer in such a way to maintain the
overall volume of the objects in the layer - this can be useful for squash
and stretch effects.
Rotate Layer Z
Rotate Layer Z
Rotate Layer Z Options
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Tool Options
•
Z Rotation: Allows you to enter a numerical value for rotation
along the Z axis.
•
•
•
Using the Tool
Use this tool to rotate the entire layer. Holding the Shift key while
using the Rotate Layer Z tool will constrain the rotation to 45 degree
increments.
Set Origin
Set Origin Options
Tool Options
•
Origin X: Allows you to view or enter a numerical value for the
X origin
•
Origin Y: Allows you to view or enter a numerical value for the
Y origin
•
•
•
Using the Tool
Set Origin
Click anywhere in the layer to set the origin to that point. The origin of a
layer is indicated by the crosshair displayed when editing that layer. The
origin is the point that the layer rotates around when using the Rotate
Layer tool, and the point that the layer resizes around when using the
Scale Layer tool. The location of the origin can also define how a layer
will move when it is attached to a group of bones.
Although you can change the origin at any time, the position of a layer’s
origin is not animated. We recommend setting the layer’s origin just
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once, and then leaving it alone for the rest of the animation - otherwise
unpredictable movement can occur. In most cases, you will never need to
change the origin of a layer at all.
Rotate Layer XY (Anime Studio Pro only
Using the Tool
Click and drag up and down to rotate the layer around the X (horizontal)
axis. This is a true 3D rotation, so that one half of the layer rotates into
the screen and the other half out of the screen.
Click and drag side-to-side to rotate the layer around the Y (vertical)
axis. This is a true 3D rotation, so that one half of the layer rotates into
the screen and the other half out of the screen. You can verify this by
using the Orbit Workspace tool to change your view of the scene.
Shear Layer (Anime Studio Pro only)
Rotate Layer XY
Rotate Layer XY Options
Shear Layer
Tool Options
•
X Rotation: Allows you to enter a numerical value for rotation
along the X axis.
•
Y Rotation: Allows you to enter a numerical value for rotation
along the Y axis.
•
Shear Layer Options
Tool Options
•
Shear X: Allows you to view or enter a numerical value for shear
along the X axis.
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•
Shear Y: Allows you to view or enter a numerical value for shear
along the Y axis.
Tool Options
•
Shear Z: Allows you to view or enter a numerical value for shear
along the Z axis.
•
•
Using the Tool
Using the Tool
Use this tool to shear the current layer horizontally or vertically. Click and
drag to shear, or slant the current layer to the left, right, up, or down.
Active Child: Use this menu to select the active layer for the
switch function
This is a specialized tool for use with Switch layers only. This tool has
no effect if you click and drag in the workspace. What it does is supply
a popup menu in the tool options area that lists all the sub-layers of a
switch group. You can change the active layer by selecting it from the
menu.
Particle Layer (Anime Studio Pro
only)
Switch Layer
This is a specialized tool for use with Particle layers only. This tool has
no effect if you click and drag in the workspace. What it does is supply
a checkbox in the tool options area that lets you control whether the
particle layer is turned on or not (emitting particles or not).
Switch Layer
Options that appear in the Particle Options dialog are discussed in detail
in “Particle Layers (Anime Studio Pro Only)” on page 160
Switch Layer Options
Particle Layer
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Video Tracking
Particle Layer Options
To use the video tracking feature, you need to have a movie file in your
project. Either import a movie into an existing project or open a movie
file from scratch. The following sections describe the process of how the
video tracking feature works
Adding Tracking Points
Assume that you have imported a video, and you want to eventually add
an object that will follow the position and rotation of a person’s thumb
and wrist. The first step of the process is to add tracking points that
identify the two points you want to follow. The Primary tracking point
controls the position of the object’s origin. The Secondary tracking point
controls the angle or scale of the object. To add the tracking points,
select the Video Tracking tool from the Layer panel.
Video Tracking tool
Particle Options
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Now we add the second tracking point for the wrist, and name it
(appropriately) “Wrist.”
Video Tracking tool
Click on the first point you want to track. You can click, and then drag to
position the point exactly where you want to place it. It is optional, but
recommended, that you name the tracked point in the Tracker Name field
of the status bar. For example, since we are tracking a thumb here, we
name the tracking point “Thumb.”
The second tracking point is added to the wrist
After you place your tracking points, make sure the Video Tracking
Tool is still selected. Play the video back and watch the tracking points
follow the points you selected. Playback runs a little slower during video
tracking.
The first tracking point is added to the thumb
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As you play the video back, you’ll notice keyframes being added to the
timeline. While the video is playing, watch for any problem spots in the
way that the tracking points follow the items you want to track. When
you see a problem, don’t worry ... there are ways to fix them!
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making adjustments until you are happy with the results. The following
movie shows our markers after they have been adjusted.
After the tracking points are added, keyframes are generated in the timeline
Markers after they are adjusted.
Fine-tuning Marker Positions
You might notice some places where the tracking points seem to drift
away from the marker, or stop following it entirely. If this happens, stop
the video playback. Go back to the beginning of the movie. Zoom in
more closely to the video and use the Video Tracking tool to reposition
the markers that need to be adjusted.
Choose View > Reset to reset the zoom level of the video back to the
default. Play the video again and watch for any other problems. Keep
Re-syncing Tracking Points
You may also find instances where the tracking points go out of sync
with the tracked object. The most likely cause for this is when the
tracked area touches or passes over another area in the video that is
very close in color. For example, when the tip of the thumb goes in front
of the paper on the wall, there are similar colors in the paper that cause
the tracking point to go out of sync with the thumb. Fortunately, there is
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a way to fix that. The next movie shows one of those problem areas.
Find the point where the point loses focus.
After you find the problem frame, advance ahead a couple of frames
until you reach a point where there is more contrast. Then drag the
tracking point to position it where it should be. When you press Play, the
tracking point will continue tracking from there.
The tracking point loses focus after reaching the paper on the wall.
To fix this type of problem, you scrub through the timeline until you find
the point where it loses track. In the next figure you see the spot where
the thumb appears to blend in with the paper. This is the area that
causes the tracking point to lose sync with the thumb.
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Advance the video to a clear spot and adjust the tracking point.
Here we move to the point just before the thumb passes over the face ...
Sometimes color similarities occur for a period that is longer than a
couple of frames. For example, in our video there is a segment where
the thumb passes across the face. This is a much larger area where there
is very little color contrast between the tracked object and the area it
passes over.
The solution here is slightly different. You can use interpolation to
calculate the path between two good points. First, move back to find
the last good point before the thumb crosses the face. Delete the
keyframes from that point until the thumb passes across the face and
reaches the other side.
... and we delete the keyframes that occur until the thumb reaches the other side of the
face.
Jump ahead in the video to a point after the thumb passes over the
face and reposition the tracking point. When you play the video back,
Anime Studio will interpolate the motion between the keyframes that
are missing.
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most cases.
On the other side of the face, we reposition the tracking point to a good spot.
Adjusting Tracking Point Sensitivity
When you add tracking points, you can change the sizes of the inner and
outer rings to adjust the falloff. Click and drag on the edge of the rings
to change the size. The inner ring defines the region that you are trying
to track. For example, if you are trying to track an eye, adjust the inner
ring so that it surrounds the eye.
The outer ring represents how fast the object can move. From one frame
to the next, the outer ring represents the maximum distance that you
want the object to move. If you have a fast-moving object you may
need to increase the size of the outer circle for tracking. Expanding the
search area too much can lead to further errors, so you want to keep it
as narrow as possible. The default settings are generally sufficient for
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Two rings control the sensitivity of the tracking point.
Assigning the Tracked Layer
After you set the two points on the object you want to track, you can
then assign the layer that will track those points. In our example, we
returned to Frame 0 and added an exclamation point to a new layer.
Now we want the exclamation point to follow the hand in the video.
To assign the layer that will track the points, choose Animation >
Track Layer to Video. The Motion Tracking dialog lists the videos in
your scene (in this case, there is only one).
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Select the movie to track, then choose the primary and secondary tracking points.
The crosshairs of the exclamation point, representing the origin, now follow the
First we’ll assign the Primary Tracking Point, which is associated with the
origin point of the tracked layer. We want the origin of the exclamation
point to track the Wrist point. So, we select “Wrist” here and choose
OK. When we play the result, the origin of the exclamation point
(represented by the crosshairs) tracks the wrist.
primary tracking point.
The secondary tracking point is optional. You can use it to control either
the angle or scale of the tracked layer. In our case, we want the thumb
to control the direction of the exclamation point, so we select the thumb
as the secondary tracking point. Then we check the option to control
Angle.
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The secondary tracking point can control the angle or scale of the tracked layer. We
want the thumb to control the angle of the exclamation point.
The following movie shows the results of our selections. Now when you
play the movie, the origin of the exclamation point follows the wrist,
and the angle of the exclamation point is follows the angle line from the
wrist (primary tracking point) to the thumb (secondary tracking point).
The exclamation point now follows the wrist, and points in the same direction as the
thumb.
Offsetting the Origin
You can use the Translate tool in the Draw panel to move the tracked
object away from the origin. The origin still tracks to the two tracking
points, but the object that you are tracking can be offset.
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can be moved around in true 3D space. The camera tools affect all layers
in the document, not just the currently active layer.
Track Camera
You can offset the object from its origin with the Translate tool.
Once you have applied video tracking points to another layer, the two
layers are totally independent. The tracking feature creates standard
keyframes. You can edit, add or remove keyframes to the tracked object.
You can also hide or delete the video layer that was used to initially
create the tracking points and keyframes. The layer that was tracked to
the video will still continue to follow the motion. This allows you to use
a video file as a reference whether or not you want to see the video in
your final project.
Camera Tools
Moving around a scene
The following tools let you move a virtual camera around in a scene.
Although layers in Anime Studio are primarily 2D, Anime Studio’s camera
Track Camera Tool
Using the Tool
This tool moves the camera up and down, and side-to-side. By giving the
project’s layers different depth values, you can create parallax (depth)
effects (see the tutorials section for an example). Holding the Shift key
while using the Track Camera tool will constrain the camera to only
move vertically or horizontally. Holding the Alt key will move the camera
forward and back.
If the “Show Path” box in the tool options area is checked, then the
motion path for the camera will be displayed in the working area when
this tool is active. This makes it easier to visualize and plan out the
motion of the camera. (The camera’s motion path is only visible when
the Orbit Workspace tool has been used to view the scene from outside
the camera.)
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Zoom Camera
Pan/Tilt Camera
Zoom Camera Tool
Pan/Tilt Camera Tool
Using the Tool
Using the Tool
This tool zooms the camera in and out on the scene, just like the zoom
control on a real camera. Technically, the Zoom Camera tool is changing
the field of view angle (or focal length) of the virtual camera.
This tool changes the viewing angle of the camera. Drag the tool up and
down to change the tilt angle of the, and drag side to side to change
the pan angle. Hold the Shift key while using this tool to constrain the
camera to only one direction of rotation.
This tool is most useful when you’ve set up a scene in 3D (different
layers at different depths), and have placed the camera so that it is
sitting somewhere among the layers, not viewing them from a distance.
Roll Camera
Roll Camera Tool
Workspace Tools
Change your view of the workspace
Using the Tool
This tool rolls the camera side to side. Try tilting your head side to side,
and you’ll understand this tool immediately.
Tool Groups
The last group of tools in the toolbar is always available, regardless
of the current layer type or the current selected object. These are the
Workspace tools, and are used to control your view of the project, but
don’t actually modify the project itself.
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Pan Workspace
Pan Workspace Tool
Using the Tool
When the Pan Workspace tool is selected, you can click and drag in the
working area to move the project side to side and up and down. Note
that this isn’t the same as moving the objects in your project - only your
view of them is changing, not where they appear in the final image. A
shortcut for the Pan Workspace tool is to click and drag in the working
area using the right mouse button - it’s a quick way to pan, regardless
of what tool is selected in the toolbar.
Zoom Workspace
Zoom Workspace Tool
Using the Tool
The Zoom Workspace tool is similar to the Pan Workspace tool: it moves
your view of the project, without modifying the objects themselves. With
this tool, dragging the mouse zooms your view of the project in and out.
A shortcut for the zoom tool is to click and drag in the working area
using the right mouse button while holding down the shift key - it’s a
quick way to zoom, regardless of what tool is selected in the toolbar.
Rotate Workspace (Anime Studio Pro
only)
Rotate Workspace Tool
Using the Tool
The Rotate Workspace tool is used to temporarily rotate the workspace.
Think of drawing on paper - sometimes you might rotate the physical
paper to draw from a different angle. The Rotate Workspace tool works
in a similar way - sometimes (especially with the Freehand drawing
tool) it may be helpful to orient the workspace in a different direction.
A shortcut for the Rotate Workspace tool is to click and drag in the
working area using the right mouse button while holding down the
control key - it’s a quick way to rotate, regardless of what tool is
selected in the toolbar.
To get back to the normal view of the scene, you can select Reset from
the View menu, click the Reset View button in the tool options area of
the Anime Studio window, or press the Home key to reset the view.
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Orbit Workspace (Anime Studio Pro
only)
Orbit Workspace Tool
Using the Tool
The Orbit Workspace tool allows you to view your scene from outside the
camera. It’s like holding the scene in your handing and turning it around
to look at it from different angles. This tool is mainly useful when you’re
working on a scene with 3D elements (layers with different depths,
complex camera moves, etc.). Hold the Alt key while using this tool to
move your view forward and back.
After using this tool to change your view of the scene, a blue wedge will
be visible in the scene, representing the location of the camera. To get
back to the normal view of the scene, you can select Reset from the View
menu, click the Reset View button in the tool options area of the Anime
Studio window, or press the Home key to reset the view.
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User Interface
User Interface
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Anime Studio’s Main Window
Overview
The Anime Studio interface has various windows that are used for
controlling different aspects of a Anime Studio project. In this chapter
we’ll briefly describe some general components of the Anime Studio
project window. The more complex parts of the Anime Studio interface,
such as the Layers window, have their own chapters that follow this
one. Although this chapter will describe how the main window works,
it won’t go into detail about creating a drawing or animation. For that,
please refer to one of the chapters in the section entitled Using Anime
Studio.
Anime Studio Pro’s interface.
Working Area
Most of the Anime Studio project window is taken up by the working
area. This is the region where you will create and view your drawings
and animations. In every project, even an empty one, two items will
be displayed in this area. The first is a cross marking the center of the
currently active layer. The second is a blue rectangle that indicates the
visible region of the project. Only objects that are within this rectangle
will appear in your final animation.
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the image with the drawing tools.
The real work that happens in the working area is not covered here, but
is described in chapters starting with “Using Anime Studio” on page 152.
Toolbar
The toolbar to the left of the main Anime Studio window is where you
select which tool you want to work with. The available tools will change
depending on whether you’re currently animating, which objects are
selected, and what type of layer is currently active. The purpose and use
of each tool is described in “Tool Groups” on page 164.
Working Area.
Although every project has a fixed image size (for example 640x480
pixels), the working area is basically an endless flat space on which you
can draw and animate. The blue visibility rectangle mentioned above
indicates the actual image area for the project. While working, you
may want to zoom in or out to see more or less detail in your project. A
quick way to do this is by using your right mouse button. By dragging
the right mouse button in the working area, you can move around from
side to side. If you hold down the shift key while right-dragging, you can
zoom in and out. If you want to restore a reasonable overall view in the
working area, press the Escape or Home keys, or choose Reset from the
View menu (see “View Menu” on page 253).
The background of the working area is usually just a blank color, but
if you drag an image file into the working area, it will appear in the
visibility rectangle. This is a helpful feature meant to allow you to trace
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Status Bar
The status bar along the top of the Anime Studio window displays a
short description of the currently active tool in the toolbar. If you don’t
know what a tool does, the best thing is to read this manual. However,
if you just need a quick reminder, the status bar can be helpful.
Status Bar
Playback Buttons
Near the bottom-left of the main Anime Studio window are a set of
playback buttons that allow you to play/stop/rewind/etc. your animation.
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Playback controls.
Display Quality (Anime Studio Pro
only)
Near the bottom-right of the main Anime Studio window is a popup box
that lets you customize the level of display quality in the editing area.
The Display Quality popup lets you control the following options.
Display Quality options
Note that this only applies to the editing view - when rendering your
final project, everything will be drawn in full quality, regardless of the
following settings.
•
Fast buffer: Turns on a faster method of drawing. However, color
reproduction in this mode is not totally accurate.
•
Paths: Display points and curves for vector layers.
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•
Fills: Display the fill colors of vector shapes.
•
Strokes: Display the outlines of vector shapes.
•
Shape Effects:
•
Images: Display images in image layers.
•
Smooth images: Display images with higher quality alpha
blending.
•
Masking: Display masking effects.
•
Transparency: Display shape transparency.
•
Brushes: Display brush effects applied to shape outlines.
• Antialiasing: Draw shapes with smooth edges.
A little way to the left of the Display Quality popup is another popup
box labeled “Current Layer”. This popup contains similar options to
those found in Display Quality. The options in “Current Layer” apply
only to the current layer, while “Display Quality”’s options apply to the
entire project. So, for example, if you wanted to display fill shapes for
all layers except one, you would leave “Fills” turned on in the Display
Quality popup, but turn it off in the Current Layer popup for the layer in
question.
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Anime Studio Menus
New
Creates a new, empty Anime Studio project.
Anime Studio’s menu bar contains commands for managing projects
(Open, Save, etc.), as well as commands that apply to certain layer types
(the Draw and Bone menus). This section will describe all the menu
commands available in Anime Studio.
File Menu
Open...
Prompts you to open a Anime Studio project file that was previously
saved to disk.
Open Recent
Displays a list of recent files that you can reopen.
Close
Closes the current project.
Save
Saves the current project to disk.
File Menu
Save As...
Prompts you for a name and location, then saves the project to disk.
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Project Settings...
Brings up the project settings dialog. As seen below, the project settings
dialog lets you control the pixel width and height of the project, as
well as the number of frames per second. You’re free to change these
values at any time, although it’s easiest if you set up the values you
want before you start creating your animation (particularly the frame
rate). Also in this dialog, you can set the start and end frames of your
animation, defining how long the overall animation will be.
•
The Project Settings dialog.
•
Dimensions: Allows you to set Custom dimensions, or choose
from a wide variety of presets. Presets include the following:
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•

Custom: Allows you to enter or edit your own settings.

NTSC D1: 720 x 534 pixels, 24 frames per second

NTSC D1 Widescreen: 872 x 486 pixels, 24 frames per
second

PAL D1/DV: 788 x 576 pixels, 24 frames per second

PAL D1/DV Widescreen: 1050 x 576 pixels, 24 frames
per second

HDV/HDTV 720p: 1280 x 720 pixels, 24 frames per second

HDV 1080p: 1440 x 1080 pixels, 24 frames per second

HDTV 1080p: 1920 x 1080 pixels, 24 frames per second

VGA: 640 x 480 pixels, 24 frames per second

Web: 320 x 240 pixels, 24 frames per second

Web Widescreen: 426 x 240 pixels, 24 frames per second

YouTube: 480 x 320 pixels, 24 frames per second
When you select a preset, the following settings appear below.

Width: The width, in pixels

Height: The height, in pixels

Frame Rate: The number of frames per second in the
animation.

Start Frame: The starting frame of the animation.

End Frame: The ending frame of the animation.
Background Color: Sets a background color for the project just click on the color swatch.
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•
Depth of Field: Depth of field simulates a camera, where a
certain range of objects are in focus, while closer or more distant
objects become blurry

Enabled: Check this option to enable or disable the Depth
of Field feature in your project.

Focus Distance: The focus distance value is the distance
from the camera to the plane of perfect focus.

Focus Range: Objects that are within the “focus range”
distance of this plane will also appear in focus. For this
feature to work correctly, you need to set up multiple layers
with different depth values so that some can be in focus, and
others out of focus. If you move the layers (or the camera) in
your animation, the focus will automatically change based on
distance from the camera.

•
•
are from the camera. See the Tutorials section for an example of
using this feature.
•
Sort by True Distance: Typically, layers are sorted by their
depth from the camera, but if you’re trying to create a 3D object
using multiple Anime Studio layers (like a cube or pyramid), you
may want to turn on “Sort by true distance”. This tells Anime
Studio to sort layers by the distance from the camera to the layers’
origins, rather than by depth. Usually this option will be left unchecked.
•
Noise Grain: With the “Noise grain” field, you can set up some
noise grain for the project. Noise grain is a subtle film grain-type
effect that adds slight variations to the pixels in your project and
leads to a more natural look to the final image. It can also increase
the visual quality in some kinds of movie compression when you
generate an animation. If you want to try out noise grain, a value
of 16 is a good start for a subtle noise effect.
•
Enable Stereo (Red/Blue) Rendering: Check this option to
create a stereoscopic video with simulated 3D effect
•
Extra SWF Frame: Check this option to add an extra frame at
the end of the video
•
Save as Defaults: When you create a new project in Anime
Studio, your animation defaults to 320x240 pixels at 24 frames per
second. If you create most of your projects at different settings, you
can change these defaults. Just type in new values in this dialog,
and click “Save As Defaults” to make the new settings the default
settings for all new projects.
Max Blur Radius: Sets a maximum value for the blurriness
of your scene.
Enable 3D Camera: If “Enable 3D camera” is checked,
Anime Studio will allow you to move around your scene in true
3D. Usually, you will leave this turned on, even if you choose
not to move the camera in 3D - it mostly exists for backwards
compatibility with older Anime Studio files (older files will have this
option turned off).
Sort Layers by Depth: The “Sort layers by depth” checkbox
allows top-level layers in Anime Studio to move in front of and
behind each other during an animation. Normally, layers are drawn
in the order they appear in the Layers panel. However, with this
option turned on, layers are displayed according to how far they
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•
Restore Defaults: Resets the project to the default values.
Import
dialog). The entire layer will be copied into your open project,
including any animation in the layer. This is an easy way to
share objects between project files and reuse bits of animation
here and there.
Anime Studio can import several kinds of other media files into an
animation project. The commands in this sub-menu let you import these
files.
Several files are included with Anime Studio that contain
scenery, characters, props, etc. You are welcome to include
these in your own projects by using this menu command.
•
Anime Studio Object: This command will ask you to choose a
Anime Studio project file. Once you’ve chosen a file, a list of layers
in the project will show up in the dialog
•
Image Imports an image file as a new Image layer. The most
common type of file to import into Anime Studio is images. It
doesn’t matter how the images are create, so feel free to use
pictures from digital cameras, backgrounds from scanned drawings
or painted on the computer, textures, computer-generated 3D
scenery, etc. The image formats supported by Anime Studio are:
JPEG, BMP, Targa, GIF, and PNG. Generally, we recommend PNG,
since the PNG format provides for variable levels of transparency,
allowing you to create non-rectangular images that can blend in
smoothly with other elements in the scene.
•
Movie: Imports a movie file as a new Image layer. Anime Studio
supports importing QuickTime (Windows and Mac OS) and AVI
(Windows only) movie files. A movie that you import into Anime
Studio will play back along with the Anime Studio animation,
allowing you to combine 2D and 3D elements, or to composite an
Anime Studio animation on top of a pre-recorded video sequence.
On Windows, if you have problems importing QuickTime movies,
then you probably need to download and install QuickTime. Anime
Studio will also import native Moho files (files ending with .moho).
•
Adobe Illustrator File: (Anime Studio Pro only) Asks you to
The Insert Object dialog
Select one of the layers to add it to your own project (a
preview of the selected layer appears on the right side of the
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select an Adobe Illustrator (.ai) file. Anime Studio will import the
bezier curve shapes in this file into a new Anime Studio vector layer.
These objects can then be further edited and animated in Anime
Studio. When creating a file in Illustrator, save it in Illustrator 8 (or
earlier) format for use with Anime Studio. Anime Studio can import
vector artwork created in other vector illustration programs. These
files must be in either Adobe Illustrator or EPS format. If your files
are in Illustrator format, make sure that you save them as Illustrator
8 (or earlier) format.
•
EPS File: (Anime Studio Pro only) Imports an EPS (Encapsulated
PostScript) file as a new Anime Studio vector layer.
•
Tracing Image: (Anime Studio Pro only) Loads an image file
to be used for tracing purposes. The image formats supported
by Anime Studio are listed in “Product Comparison” on page 299.
The Tracing Image command is the same thing as “Select Tracing
Image” in the View menu.
•
•
Audio File: Loads a sound file to be used as a soundtrack for the
current animation. The audio formats supported by Anime Studio
are listed in “Product Comparison” on page 299. This command is
the same thing as “Select Soundtrack” in the Animation menu.
Anime Studio has limited support for audio, but you can import
a single sound file as a soundtrack for your animation. Anime
Studio uses libsndfile to handle sound files, so any format that
libsndfile supports is fair game. Generally, it’s best to stick with
uncompressed WAV or AIFF files.
OBJ 3D Model (Anime Studio Pro only) Imports a 3D model as
a new Anime Studio 3D layer. Anime Studio can import 3D files that
are in OBJ format. More information about 3D layers can be found
in “3D Layers (Anime Studio Pro Only)” on page 162. Finally, Anime
Studio can import 3D files created by 3D modeling programs. At
this time Anime Studio can only import OBJ files, but it’s a quite
common format, and most 3D programs can export to OBJ. OBJ
files can include texture maps, and if your model uses one, Anime
Studio will import and use it as well. If you’re new to 3D, and
you’re looking for a program to create 3D models for use with
Anime Studio, we recommend Poser.
If you already own Poser, here’s some information for you: You
can easily export OBJ’s from Poser and import them within
Anime Studio Pro. For Poser, we’ve created a Python script
to help you export your work into a readable 3D OBJ format
for use within Anime Studio Pro. Access this script by visiting
Content Paradise.
Import Notes and Tips
Referenced Files
Please note that Anime Studio references the directory location of
images, OBJ’s, sound files and movies files that have been imported
for use. When exporting into movie format, Anime Studio continues
to reference this directory location. Moving referenced items from one
location to another will prevent the item from being displayed or heard.
We recommend that all items used in your animations or artwork
accompany it’s native file format (ANME) and final exported format.
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Startup Folder
Adding your own .anme file to the “Startup Folder” (located in the root
directory of your Anime Studio installation) will always make Anime
Studio open this .anme document first when it’s initially launched. Please
make sure to rename your .anme file to “StartupFile.anme”.
depend on the complexity of the OBJ file.
Photoshop Tips
Advice for working with Anime Studio and Photoshop
Anime Studio will also import native Moho files (files ending with
.moho).
Anime Studio is equipped with a Photoshop export script that will
give you the ability to take your PSD files and export them into .ANME
format. The .ANME format is the native Anime Studio format. This
process helps users from having to re-draw or export individual layers as
images into Anime Studio.
Library Content
What does the Script Do?
Please read Section 6 of the EULA (End User License Agreement) for
rules on using the content that has been supplied with your version
of Anime Studio. Please note that when importing existing content/
movies from the Anime Studio Content Library using the File > Import
option, some animations/movies exceed the default “End Frame”. This
will prevent you from seeing the full movie. To adjust the default “End
Frame” settings, please select File > Project Settings and change the
field beside “End Frame”. The default is typically 72 frames. You can also
double click the movie/content file you would like to view from within
the Content Library. To access the Library, select Help > Open Content
Library.
Basically, the script converts PSD formatted files to .ANME files. It
exports every layer that was created originally in Adobe Photoshop and
makes it completely readable when imported into Anime Studio. All
versions of Adobe Photoshop since version 7 should support this script.
Moho Files
Importing 3D OBJ’s (Anime Studio Pro only)
Please note that loading 3D OBJ files may take some time. Loading times
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How does the Script Work?
The script exports the following 2 things: Firstly, it converts the PSD file
into a .ANME file. Secondly, all the individual layers of the PSD file are
converted into individual PNG files and are placed in a folder of the
same name as the .ANME file. The folder with the PNG’s and the newly
converted .ANME file will be located side by side. It is important to
note that whenever you open the .ANME file, it will reference the PNG
folder. So please keep them side by side. If the PNG folder and the newly
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converted .ANME are not located in the same folder, the layers within
your newly opened .ANME will not work properly in Anime Studio.
Exporting Movies
Where is the Script located and how do you use it? The PSD to ANME
script is named “Export Layers To Anime Studio.jsx”. To access this
script, please make sure you’ve installed Anime Studio. The script is
available in the installation directory of Anime Studio, in a folder labeled
“Extra Files”.
Most often, you’ll export an animation as a movie file. You have two
choices:
To use the script within Adobe Photoshop, please make sure you have
it installed on your computer. Copy the “Export Layers To Anime Studio.
jsx” to your .../Photoshop/Presets/Scripts folder. You should then be able
to open up a Photoshop document, run this script from File > Scripts
> Export Layers to Anime Studio, and it will generate a new Anime
Studio file complete with an image layer for each original Photoshop
layer.
Preview
Generates a preview image of what your project will look like. If you’re
in the process of animating your project, the image will be of the current
frame in your animation. A preview image does not contain all the fill
styles, and is of lower quality, but is quicker to generate than a fully
rendered image.
When the Preview window opens up to display your work, you can
save the preview as a still image, using the popup menu in the Preview
window.
QuickTime (Windows and Mac OS): QuickTime is a very flexible format
for working with movies. We generally recommend using QuickTime
with the Sorenson 3 codec for the best combination of low file size
and quality. If you choose QuickTime, Anime Studio will also export the
soundtrack (if you have applied one to the animation). On Windows, if
you don’t see QuickTime as an option, then you need to download and
install QuickTime.
AVI (Windows only): On Windows you can also export movies in AVI
format.
When exporting a movie, Anime Studio will include an alpha channel if
the codec you’re using supports it. This makes it possible to composite
Anime Studio movies with other media in a video editing program.
If you’re using QuickTime, set the color depth to “Millions of Colors+”.
The “+” is QuickTime’s indication of an alpha channel. The codecs that
support this include Animation, None, PNG, TGA, and TIFF.
AVI on Windows doesn’t include any built-in codecs that support alpha
channels. However, at least one such codec does exist, and you can
download it for free - the Huffyuv codec.
Anime Studio can only export to a maximum size of 768 pixels x
768 pixels and 3000 frames. (Anime Studio Pro does not have this
limitation.)
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Export Animation...
This command brings up a dialog that lets you export an animated
sequence and save it to disk. The Anime Studio project file is where
your work is saved, but to view the animation as a movie, to put it on
the web, or to work with it in other programs, you have to export the
animation.
free to keep working while the animation is being drawn. A progress
bar at the top of the animation window will inform you of the export
progress.
The Export Animation dialog also has several options for adjusting the
output quality of your animation. These default to the highest quality
rendering, but you may sometimes want to lower the quality to increase
rendering speed or to output animations with smaller file sizes for
streaming over the internet. The rendering quality options available are:
•
Start Frame: Enter the start frame for your exported movie here.
•
End Frame: Enter the end frame for your exported movie here.
•
Entire Animation: Press this button to reset the start and end
frames to include all frames in the movie
•
Output Format: Choose from AVI Movie, QuickTime Movie, or
Flash (SWF). You can also export sequenced image files in JPEG,
BMP, Targa, PNG, or PSD formats.
•
Antialiased edges (Anime Studio Pro only): Normally, Anime
Studio renders your shapes with smoothed edges. Uncheck this box
to turn this feature off.
•
Apply shape effects (Anime Studio Pro only): If this box is unchecked, Anime Studio will skip shape effects like shading, texture
fills, and gradients.
•
Apply layer effects: If this box is un-checked, Anime Studio
will skip layer effects like layer shadows and layer transparency.
•
Render at half dimensions: Check this box to render a
The Export Animation dialog.
The dialog asks for a starting and ending frame (these default to the
entire animation), and an output format. You can output a sequence of
frames, a movie file, or a Flash SWF file. Anime Studio will then ask you
where to save the result. Once the animation begins exporting, you are
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smaller version of your movie. This makes rendering faster if you
just want a quick preview, and is useful for making smaller movies
for the web.
Anime Studio will also include the soundtrack (if any), if the soundtrack
is in MP3 format. If you plan on exporting Flash files, it is important to
read “How to Create Efficient Flash Files” on page 234.
•
Render at half frame rate: Check this box to skip every
other frame in the animation. This makes rendering faster, and
results in smaller movie files.
Flash Tips
•
Reduced particles (Anime Studio Pro only): Some particle
effects require hundreds of particles to achieve their effect. Check
this box to render fewer particles. The effect may not look as good,
but will render much faster if all you need is a preview.
•
Extra-smooth images: Renders image layers with a higher
quality level. Exporting takes longer with this option on.
Among the other export formats that Anime Studio offers, you also have
the option to output Flash SWF files. SWF is a format created by Adobe
as a way to deliver animated vector artwork and interactive applications.
Flash animations are very common on the web, and most users already
have the Flash player installed on their computers. Because Anime
Studio is also vector-based, there are enough similarities to make it
possible for Anime Studio to export SWF files.
•
Use NTSC-safe colors: Automatically limits colors to be NTSC
safe. This is only an approximation - you should still do some
testing to make sure your animation looks good on a TV monitor.
•
Do not premultiply alpha channel: Useful if you plan to
composite your Anime Studio animation with other elements in a
video editing program.
•
Variable line widths (SWF) (Anime Studio Pro only): Exports
variable line widths to SWF. See “Flash Tips” on page 233 for more
information about variable width lines and Flash.
Advice for working with Anime Studio and Flash
However, Anime Studio and Flash are not completely compatible.
Therefore, not all the features of Anime Studio can be exported
successfully to Flash. In addition, because Flash is a web format, small
file size is important - there are certain issues to keep in mind when
working with Anime Studio if Flash is your intended output format.
When exporting SWF files, you may want to use Macromedia’s Flash
authoring tool to combine multiple SWF files, add extra elements, sound,
etc. Be aware that Anime Studio’s SWF files are compatible with Flash
MX and later - Flash 5 and earlier are not able to load Anime Studiocreated SWF files.
Exporting Flash
What Can be Exported
Anime Studio can also export Flash files in SWF format. Flash is a
common vector animation format on the Web. When exporting Flash,
Most common objects in Anime Studio can be exported to Flash. These
include:
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•
Vector layers
•
Layer effects (shadows, shading, layer blur, motion blur, etc.)
•
Fills/Outlines/Colors
•
Image warping or 3D movements in image layers
•
Transparency
•
•
Gradients
Image layers that use progressive JPEG images (Flash can’t handle
progressive JPEG images)
•
Variable-width lines (try to use these sparingly - see below)
•
Layer masking
•
Bone warping of vector layers
•
3D layers
•
Image layers (PNG and JPEG only, and only if they are not warped
by a bone layer)
•
Multiple audio tracks, or audio tracks other than MP3 format
•
Particle layers (careful - a complex particle effect can easily
overwhelm Flash)
•
A soundtrack can be exported if it’s in MP3 format, and at either
44100kHz, 22050kHz, or 11025kHz sample rate. If you want your
SWF file to contain audio, make sure that your project contains
only one audio track, and that the audio track is in MP3
format. In order for Anime Studio to play MP3 format audio files,
you must have QuickTime installed
What Can’t be Exported
On the other hand, some things in Anime Studio are just not compatible
with Flash, and cannot be exported to a SWF file. The following list
covers the most important of these objects and effects.
•
Brushes
•
Fill and line effects (except gradients)
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How to Create Efficient Flash Files
When you’re creating an animation with the intent to produce an SWF
file as output, there are several things to keep in mind. An important
concern with SWF files is keeping the file size down. The key way to do
this in Anime Studio is to keep as many layers “optimized” as possible.
An optimized layer when exported to SWF will take up much less space
than a non-optimized one. (For other formats, like QuickTime or AVI, it
doesn’t matter.) You can tell which layers are optimized by looking for a
little red dot next to the layer’s icon in the Layers window:
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•
Notice the red dot by the optimized layer.
A new layer is optimized to start with, but depending on the effects
you apply, that optimization can go away. The following things will “deoptimize” a layer. Note: a non-optimized layer will still export to Flash, it
just won’t be nearly as efficient.
•
3D camera movements (this will de-optimize all layers in the
project, so it should be avoided if possible when targeting SWF)
•
3D layer rotation (X or Y rotation, or perspective rotation)
•
Layer shear
•
A group layer that has 3D rotation or shear will cause all of its sublayers to be non-optimized
•
Uneven scaling in the X and Y directions
•
Point animation
Bone animation is a common cause of non-optimized layers.
What’s happening is that because Flash doesn’t have a bone
system like Anime Studio, Anime Studio needs to export a lot of
extra information for Flash to be able to produce the same effect.
One way to use bone animation and to stay optimized is to attach
a vector layer to a single bone, instead of letting the bones warp
all the points in the vector layer. The vector layer will then remain
optimized. While you can’t do this in all cases, sometimes you can
break up a character into multiple body parts - some parts will
be warped with the bones, and some will be attached to a single
bone. At least some parts of the character can remain optimized.
Here are some other things to think about when exporting to SWF:
•
Consider using a lower frame rate (12 fps, for example) for your
animation. Fewer frames means a smaller file.
•
If some of your layers can do without any animation at all, or
just layer translation/scaling/rotation (background scenery, props,
background characters, etc.), that can save a lot of space.
•
If most of a layer is stationary, except for one small object, move
that object into its own layer if possible. Example: a character
who is waving his arms, but is otherwise still - move the arms into
a separate layer from the rest of the body. The body will remain
optimized and take up much less space.
•
If an object sits still for a time with no animation, consider
replacing it with a non-animated object for that time period.
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What to Avoid
If your goal is to create a SWF animation, there are some things you
should try to avoid. Besides the effects that just are not possible to
export, you should try to avoid the following effects if possible. These
are all things that can be exported - it’s just that they make for a less
efficient SWF file. Of course, you won’t want to avoid all of these things
all of the time. However, if you plan your animation carefully, and use
as few of the following effects as possible, the resulting SWF file will be
smaller, and will load quicker over the web.
•
3D camera moves - no Flash optimization is possible when you’re
moving the camera around in 3D. Simple side-to-side pans and
zooms are OK, but when you start using camera pan/tilt, Flash
efficiency goes down the drain.
•
Try to use as few control points as possible in your vector artwork.
•
The freehand tool and the insert text dialog can generate a lot of
points, resulting in a big SWF file.
•
Limit the use of variable-width lines. It’s easy to overwhelm Flash
with the complexity of variable-width lines, making the resulting
SWF file play back unpredictably. Read “How Big Can a Flash Movie
Be?” for more information. If possible, only use variable-width lines
in SWF-optimized layers.
•
Avoid compound shapes (two adjacent circles filled as one, shapes
with holes, or figure 8’s).
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Exporting Still Images (Anime Studio
Pro only)
Finally, you can export an animation as a sequence of numbered still
images. This option is not used very often, but sometimes for certain
post-processing tasks, you may prefer to work with a sequence of
separate still image files. You can choose between JPEG, BMP, PSD,
Targa, or PNG.
Batch Export... (Anime Studio Pro only)
Anime Studio’s batch export window lets you line up several Anime
Studio project files to be exported one at a time. This is very convenient
when you’re working on a large project with separate project files for
different scenes, and you want to render them all at once (like during
lunch maybe). The batch export window has many of the same controls
as the Export Animation dialog:
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Backspace or Delete keys (this will not delete the file from your
system, just remove it from batch export).
You can change rendering options by selecting a file and then changing
the options at the top of the window. The options that are set before
you queue up any files will apply to all the files as you add them. The
output file format you select will be the same for all files in the batch.
When all your files have been added and the options set, press the Start
button to begin batch export. The window will display the progress of
each file as it is exported. When a file is finished and disappears from
the list, you can find the rendered result in the same folder as the Anime
Studio file itself.
Quit
Quits Anime Studio. Prompts you to save any unsaved projects.
The Batch Export window.
To queue up files for batch export, drag the Anime Studio files into
this window, and they will appear in the list view at the bottom. You
can remove a file from the queue by selecting it and pressing the
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Cut, Copy, Paste
Edit Menu
These are the traditional clipboard commands. They can be used together
with the Draw editing tools for vector layers, and operate on the
currently selected group of points.
Clear
This command is the same as pressing the backspace or delete key: the
currently selected object in the working area will be deleted from the
project.
Edit Menu
Select All
Undo
Selects all the points in the active vector layer.
Choose this command to undo the last operation. You may undo up to 8
of your most recent editing operations in Anime Studio.
Select None
De-selects all the points in the active vector layer.
Redo
This command will redo the last operation that you “un-did” with the
Undo command.
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Select Inverse
Selects the opposite points in the active vector layer. Selected points will
become de-selected, and de-selected points will become selected.
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Select Connected
Selects all points that are connected to any other currently selected
points. For example, if you have a complex shape like a character’s head,
just select a few points on it, then choose this command: if all the points
on the head are somehow connected together, the whole head will now
be selected.
Preferences...
Brings up a dialog that lets you customize some aspects of Anime
Studio, such as the display colors used in the working area of the Anime
Studio window. Some of these features including Edit Colors and GUI
Colors are only available in Anime Studio Pro.
otherwise.
•
Auto-name bones and shapes: Bones and shapes can be
named by the user. If this is turned on, all bones and shapes get
names like “1”, “2”, etc.
•
Zoom with drag box: When this option is on, allows you to
draw a box around the area that you want to zoom into, rather
than using a continuous zoom.
•
Consolidate timeline channels: Instead of showing
separate channels (point animation, bone animation, layer
translation, layer rotation, etc.), this option groups all channels into
one in the timeline palette. This is on by default in Debut, and off
in Pro.
•
Status bar at top of window: Shows the status bar at the
top of the window, rather than the bottom. The status bar is where
tools show their descriptions, like what modifiers keys do what, etc.
Options
•
Auto-assist with bone locking keyframes: Adds an
extra keyframe when bones are locked or unlocked to prevent them
from “drifting”.
•
Highlight frame 0: If on, a red box is drawn on the canvas if
the current time is set to 0. This can be helpful to remind you when
you’re working on frame 0 (the setup frame) vs. some other frame.
•
Scale compensation for new layers: When a layer is
scaled up (or down), its lines get thicker (or thinner) to match. If
you don’t want this behavior, turn off this option. You can also
control this on a per-layer basis in the Layer Settings dialog. This
option controls it for any new layers you create.
•
Enable drawing tools only on frame 0: Creation tools
(Add Point, Freehand, Draw Shape, Add Bone) are only available
on frame 0 if this option is on. Otherwise, they can be used at any
time.
•
Show paths for new layers: Determines whether the paths
(previously called construction curves) are displayed for new layers.
They’re always shown for the selected layer, but usually hidden
•
Use SMPTE timecode: Shows time in the timeline using
SMPTE timecode instead of frame numbers. SMPTE timecode looks
like this: 00:02:34:07 That would be 0 hours, 2 minutes, 34
seconds, and 7 frames.
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•
Show angles in degrees in timeline: Angle values
(like layer rotation or bone rotation) are shown in radians in the
timeline’s Motion Graph. This is because angle values in radians are
smaller numerically and fit in better with other values in the graph.
But if the user chooses to, they can display these curves using
degrees with this option.
•
Disable custom tool cursors: A long time ago there was a
bug on some Windows systems where tool cursors didn’t display
correctly. Turning on this option will just use the standard system
arrow cursor, regardless of what tool is active on the canvas. It
may not be needed anymore (I’m not sure if that bug happens for
anyone these days).
•
Disable audio feedback: When welding points, you hear a
“clicking” sound in Anime Studio. Turning this option on will disable
the click.
•
Default Interpolation: For any new keyframes you create, this
sets what the interpolation type will be for that key. Smooth is the
default, but some advanced users have interesting uses for setting
the default to something else. The available options are Smooth,
Linear, Step, Ease In/Out, Noisy, Ease In, or Ease Out.
Video Uploads:
This tab is used to enter your YouTube user account name and password.
Anime Studio will log into this account to post YouTube videos when you
select the File > Upload to YouTube command.
Anime Studio Menus
Editor Colors:
Allows you to change the color scheme for the editor window, including
various options for background and object colors. Press the Reset button
to return to default application colors.
Editor Colors
GUI Colors:
Allows you to change the color scheme for the application, including
various options for background, text, and widget colors. A preview of
your changes appears as changes are made.
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Draw Menu
Draw Menu
GUI Colors
Insert Text...
A dialog will pop up with controls to type in some text and choose a
font. When you click OK, the text will appear as a set of curves in Anime
Studio. These curves are just like any drawing in Anime Studio - you
can manipulate them with any of the Anime Studio tools, like any other
object. There is also a checkbox that lets you decide whether to create
the text as a single fill, or as separate fills for each character (in case
you want to color/style them differently). The text will be filled using the
current fill color/style.
There is no font size control when you create the text: the Anime Studio
scale tool should be used to control the size of the text after you create
it.
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Snap to Grid (Anime Studio Pro only)
Smooth
If the grid is turned on in the working area, then this command can be
used to snap all selected points to the nearest grid intersection.
This command smooths the transitions between the curves at the point
that you click.
Reset Line Width (Anime Studio Pro
only)
Raise Shape
Using the Line Width tool, you can adjust the width of a line at any
point. Choosing this menu command will reset your custom line widths
at any selected points.
Random Line Width... (Anime Studio Pro
only)
Use this command to randomize the width of the line(s) through the
currently selected points. You will be asked to specify the minimum and
maximum width, and Anime Studio will assign random line widths within
that range.
Select this menu item to raise a shape in the stacking order. This will
move it in front of the next higher shape. The stacking order only applies
to shapes within the same layer - all shapes in a layer will appear above
any lower layers and behind any upper ones, regardless of stacking
order. Note that if there is no shape overlapping the selected one, you
may not see any change when this item is selected, even though the
shape gets moved higher.
Lower Shape
Select this menu item to lower a shape in the stacking order.
Raise to Front
Peak
Works like Raise Shape, but raises the shape above all others in its layer.
This command creates a peaked (or hard) transition between the curves
at the point that you click.
Lower to Back
Works like Lower Shape, but lowers the shape below all others in its
layer.
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Reset Points
Release Points
Moves the selected points back to their original positions, adding a new
keyframe for them at the current time.
This command detaches the selected points from any bones they may
be bound to.
Reset All Points
Flexi-Bind Points
Same as above, but moves all points in the layer back to their original
positions, not just the selected ones.
This command binds the selected points to bones in such a way that
they will influenced by all the bones in the parent bone layer, depending
on the strength and region of influence of each bone. This results in
more of a “squishy” type of motion when the skeleton is animated. This
is the default behavior for all drawings in Anime Studio, so you usually
won’t have to use this menu command - the points are probably already
flexi-bound.
Bone Menu
Release Layer
This command detaches the current layer from any bone it may be
bound to.
Flexi-Bind Layer
Bone Menu
This command binds the current layer to the bones in the parent layer
in such a way that the child layer will influenced by all the bones in the
parent bone layer, depending on the strength and region of influence of
each bone. This results in more of a “squishy” type of motion when the
skeleton is animated.
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Hide Controlled Bones
Animation Menu
Hides any bones that are set up to have their angle or position
controlled by another bone. These types of bones are often not animated
by the user (their animation is “automatic” through the control feature),
and hiding them can clear up some of the clutter in the workspace. This
function is not available when the time is set to frame 0.
Track Bone to Video
Allows you to link a bone to the tracking points that you defined with
the Video Tracking tool. For a description of how to use this tool, see
“Video Tracking” on page 207.
Reset Bone
Moves the selected bone back to its original position, adding a new
keyframe for it at the current time.
Reset All Bones
Same as above, but moves all bones in the layer back to their original
positions, not just the selected one.
Anime Studio Menus
Animation Menu
Allow Frame Skipping
Normally when playing back an animation, Anime Studio will display
each frame one at a time. Depending on the complexity of your
animation, the display quality settings, and the speed of your computer,
the animation may play back slower than its specified speed. Select this
command to force the animation to play back at actual speed. In order
to accomplish this, Anime Studio may have to skip some frames to keep
up to speed, so the animation will play back at the correct overall speed,
but may not appear as smooth. The best way to see the animation
at final speed and quality is of course to use the Export Animation
command in the File menu.
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Clear Animation From Layer
This command removes all animation from the current layer.
Clear Animation From Document
This command removes all animation from the entire document.
Reset All Layer Channels
Resets all channels in the current layer to their initial values, adding a
new keyframe at the current time.
Set Layer Start Time
Select All Keyframes
Selects all the keyframes in the current layer. This is useful if you want to
move all the animation in a layer forward or backward.
Rescale Keyframes...
With this command you can rescale a group of keyframes so that a
portion of your animation takes more or less time.
The Rescale Keyframes dialog.
Options included in this dialog are:
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•
Rescale entire document: Check this option to rescale all
frames in the document.
•
Start Frame: Enter the existing frame number at which to start
scaling.
•
End Frame: Enter the existing frame number at which to end the
scaling.
•
New Start Frame: Enter the new target frame number for the
start of the scaling.
•
New End Frame: Enter the new target frame for the end of the
scaling.
Rescale the following channels: Check or uncheck the
channels that you want to include or exclude from the scaling
operation. The icons representing the various animation channels
are described in the Timeline Window section.
Examples:
•
•
To reduce the amount of time the animation takes (in other words,
to speed it up), you could set the start frame (and new start frame)
to 30, the end frame to 60, and the new end frame to 45. (45 - 30
= 15, which is half as long as 60 - 30 = 30)
•
You can shift a section of your animation by changing the start
time. For example, to shift the range of keyframes between 30 and
60, you could set the start frame to 30, the end frame to 60, the
new start frame to 90, and the new end frame to 120. The duration
will be the same (120 - 90 = 60 - 30), but the animation will take
place between frames 90 and 120, instead of 30 and You can
Anime Studio Menus
rescale a portion of the entire document by clicking the “Rescale
entire document” checkbox.
•
To rescale the current layer, select the animation channels that you
want to be affected. For example, you may want to rescale the bone
animation, but leave the layer rotation alone.
Copy Current Frame...
With this command you can copy values from the current frame in
the timeline to any other frame in your animation. For example, if you
position some objects in a way that you really like at frame 243, you can
use this command to copy that position back to frame 0, to make it the
starting position as well.
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Blend Morphs
You can use the Animation > Blend Morphs command to blend
poses (or morph targets) together to create a combination pose or
morph. This new feature in Anime Studio 6 is very easy to use.
NOTE: Anime Studio Debut 6 does not allow you to create actions
for blending, however you will be able to blend poses contained in
content that is created by others. When you first create a character,
you’ll notice that the Animation > Blend Poses command may
not be available. This is because you need to use a character that
has morph targets that you can use for blending.
NOTE: Anime Studio Pro 6 allows you to both create and blend
poses. See “Creating Morphs” on page 293.
To blend your morphs, begin by moving to the frame at which you want
the new morph to appear.
Next, choose the Animation > Blend Morphs command. The Blend
Morphs dialog appears. The sliders in this dialog are named the same as
the morphs you created in the Actions window. Adjust the sliders until
you get a combination of the morphs that you want to keep. Then click
OK to set the new combination.
The Copy Current Frame dialog.
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document” checkbox. There doesn’t need to be a keyframe at the current
frame in order to copy the current value. This command will copy the
current value, whether it is a keyframe or an interpolated in-between
value.
An important note about bones: if you position a skeleton system during
your animation, and try to copy that pose back to frame 0, the bones
themselves will take on that pose at frame 0, but anything bound to
the bones (points in vector layers, warped images, other sub-layers) will
not take on that pose. This is because frame 0 is a setup frame - bones
are set up at frame 0, but they have no influence over other objects at
frame 0. If you’re trying to copy a pose back to frame 0 in order to set
up an initial pose, consider copying it back to frame 1 instead - frame 1
is actually the beginning of the animation, and the bones will influence
other objects starting at frame 1.
Track Layer to Video
Use the Blend Morphs dialog to combine your morphs together in any combination of
values.
You can then advance to other frames in your timeline, and use the
Blend Morphs command to create new combinations throughout the
timeline. As you scrub through the timeline, you should then see morphs
blend from one to the other.
You can select which animation channels to copy to a new frame, or
you can copy everything in the document by selecting the “Copy entire
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This command allows you to link a layer to trackings points that have
been set up with the video tracking tool. For a complete description of
the process, refer to “Video Tracking” on page 207.
Mute Audio
Mutes the soundtrack when playing back your project in Anime Studio,
but the soundtrack is still a part of the project. Just un-mute it to hear
it again.
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Restart Audio Track
Audio Level
The Scripts menu contains commands that are provided by script files or
plug-ins. Anime Studio includes several scripts for a variety of different
tasks, and you can also download more scripts written by other Anime
Studio users. These scripts are all written in the Lua programming
language - if you’re interested in creating your own scripts, feel free to
examine the scripts in the scripts/menu sub-folder in the Anime Studio
program folder.
Opens a dialog that allows you to enter a numerical value for the audio
level.
The scripts in this menu are divided into several sub-menus, according
to their function:
Starts the audio track in the selected track over again from the
beginning. This allows you to add repeats in the audio track.
Scripts Menu (Anime Studio Pro
only)
Get access to useful scripts that have been created by Moho/Anime
Studio users. You can get more information and download the scripts
from here.
3D
The scripts in this menu are used to create or manipulate 3D models.
Cube
Creates a new 3D layer that contains a simple cube. The color of the
cube is determined by the current fill and line colors.
Rotate X
Rotates the current 3D layer 90 degrees around the X axis. This can be
useful when importing a 3D model if the model’s “up” direction is not
the same as Anime Studio’s - just use this command (and the other
rotate commands) to align the model properly.
Scripts Menu
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Rotate Y
Draw
Rotates the current 3D layer 90 degrees around the Y axis.
These scripts can be used to create vector objects in Anime Studio.
Rotate Z
Polygon...
Rotates the current 3D layer 90 degrees around the Z axis.
Draws a polygon shape in either the current vector layer, or a new layer.
Uses the current fill and line colors to color the polygon.
Torus
Creates a new 3D layer that contains a simple torus (donut). The color of
the torus is determined by the current fill and line colors.
Star...
Draws a star shape in either the current vector layer, or a new layer. Uses
the current fill and line colors to color the star.
Camera
Triangle
These scripts are used to move the camera around and to create camerarelated effects.
Draws a triangle in the current vector layer. Uses the current fill and line
colors to color the triangle.
Handheld Camera
Adds noisy interpolation to the camera animation channels to simulate a
handheld camera.
Image
These scripts can be used to process image layers.
Orbit Camera...
Import Image Sequence...
Adds animation to the camera to cause it to rotate around the current
scene. You can specify how long this should take, how far out the camera
should be, and the direction of rotation.
Imports a numbered sequence of images. Each image is imported as
its own layer, and the entire group is enclosed in a switch group. The
image files should be named using a numerical sequence. For example,
“file0001.jpg”, “file0002.jpg”, “file0003.jpg”, etc.
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Layer Effects
Studio program folder to see how this text file should be set up.
These scripts can be used to generate special layer effects.
Layer Trail...
Layer Trail...
Causes a trailing line to be drawn that follows the movement of the
current layer. Be sure that the layer actually has some movement, or this
script will appear to do nothing.
Creates an animated trail effect that follows the origin point of the
current layer.
Perspective Shadow...
Particle Effects
Automatically creates a pseudo-3D shadow effect for the current layer.
These scripts can be used to create particle effects like smoke, fire, or
rain. Many of these effects can be time-consuming to render, so be
aware of that if you plan to use several of them in a single animation.
Also, even though they can be exported to Flash, these effects can be
too complex for the Flash player to play at full speed. Plus, without the
blur effects these scripts use, they won’t look very good in Flash. These
effects are really useful only if you plan to export to a movie or still
image format, not Flash.
Other
Scripts that don’t fit any other category can be found here.
Auto Weld
This script looks for points in a vector layer that line up with one
another, but that aren’t welded. It then tries to weld these points
together. This can be useful when importing some types of vector files
from other programs.
Credits...
This script can be used to create lists of credits, or other screens of text.
The script will prompt you to select a text file containing the text you
want to use. In the text file, each “screen” of text should be separated
by a blank line. Take a look at the file “sample_credits.txt” in the Anime
Energy Cloud...
Creates a blobby glowing cloud effect.
Explosion...
Creates an explosion effect. The explosion starts at the current frame,
and will fade to a smoke cloud over time.
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Rain
Error Test
Inserts a falling rain effect.
This script intentionally creates a runtime error. The purpose is to show
how the Lua Console appears to display the error. When you write your
own scripts, the console window will be very helpful when tracking
down errors.
Smoke...
Inserts a plume or cloud of smoke.
Snow
Creates a falling snow effect.
Sparkles...
Inserts a cluster of spiraling sparkles. This effect is very effective if you
bind it to another moving object - for example, the end of a magic wand.
Load Data File...
This script is a demonstration of how a Lua script can read data from an
external file. It doesn’t do anything useful itself, but it could be used as
a starting point if you wanted to write a script to import some kind of
custom data.
Print Globals
Prints out all global variables currently defined in Lua.
Script Writing
This menu contain utility scripts that can be used as examples for writing
your own scripts. If you don’t plan to write your own scripts, you can
completely ignore this menu.
Alert Test
Demonstrates how a script can use an alert box to provide some
information to the user.
Anime Studio Menus
Print Anime Studio API
Prints out all functions, constants, and global variables that Anime
Studio provides through its scripting interface. This is not meant to be
the documentation for Anime Studio’s scripting interface, but some script
writers may find it useful.
Print Test
A simple example that shows how you can print output in a Lua script.
The printed output will appear in the Lua Console window. Printing
data in the console window is not generally useful when your script is
delivered to regular Anime Studio users, but can be very helpful when
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writing a script to track down bugs.
Warp
Sound
This set of scripts is used to distort the contents of a vector layer,
applying various animated warping effects.
The scripts in this menu use sound to control some part of an animation.
Black Hole...
Bone Audio Wiggle...
Causes the selected points in a vector layer to swirl around in an inward
spiral motion towards the origin point of the layer.
This script uses the volume of a sound file that you select to animate the
angle of the currently selected bone. Use this script to make a character
or object move in sync with a sound.
Visibility
These scripts affect the visibility of a layer - for example, causing it to
fade in and out.
Wavy...
Causes the selected points in a vector layer to move in a wavy or
underwater style.
View Menu
Fade...
Causes the current layer to fade in or out over a specified number of
frames. If you want a layer to appear or disappear suddenly, it is better
to change the value of the layer’s visibility channel. However, this script
should be used when you want a layer to appear or disappear more
gradually.
Wavy Fade...
View Menu
This script combines the Fade effect above with the Wavy effect below. It
can only be used with vector layers.
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Reset
Resets the view of the working area to the starting pan and zoom
values. Use this command when you want to jump back to the original
view of the project.
Direction (Anime Studio Pro only)
This sub-menu lets you select a direction to view your scene from. The
default view is through the camera - however, sometimes when you’re
working on a scene with a 3D layout, you may want to view the scene
from a different point of view. Options are Camera, Front, Top, Right,
Back, Bottom, and Left.
Enable Grid
Toggles display of the grid on and off. A checkmark appears beside the
command when the grid is displayed.
Grid Settings
Displays the Grid Settings dialog, which allows you to set the number of
pixels between each grid space. Default is 20 pixels.
Anime Studio Menus
Disable Grid Snapping (Anime Studio
Pro only)
When the grid is turned on, control points will snap to the nearest grid
intersection as you draw them and move them around. Select this menu
command to disable grid snapping - that way you can use the grid as
just a visual guide, without it interfering in your drawing.
Video Safe Zones (Anime Studio Pro
only)
This command turns on the display of NTSC “safe zones”. When creating
output for video, it is important to keep important action and titles
within the safe zones, because most televisions cut off some portion of
the outside of the picture. (The inner rectangle is the safe zone for titles,
and the outer one for important action.)
Show Output Only
This command will hide all artwork that lies outside the final output
rectangle. This makes it easy to visualize the final staging for your shot.
Of course, it’s hard to edit what you can’t see, so be sure to turn this
option off when you need to edit an object that lies outside the visible
area of the project.
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Select Tracing Image (Anime Studio Pro
only)
Use this command to select a tracing image to display in Anime Studio’s
editing view. This image will not appear in your final output - it’s just
used as a tracing guide to help you draw your artwork in Anime Studio.
Tools
Shows/hides the Tools window. The Tools window is shown by default
when you start Anime Studio.
Layers
Show Tracing Image (Anime Studio Pro
only)
Shows/hides the Layers window. The Layers window is shown by default
To use a background image for tracing out a drawing, just drag the
image into the working area of the Anime Studio window, or use the
above menu command. Then, you can use this command to hide or
show that tracing image. To use a different tracing image, just drag a
new one in.
Timeline
Window Menu
Shows/hides the Timeline window. The Timeline window is shown by
default when you start Anime Studio.
Style
Shows/hides the Style window. The Style window is shown by default
Actions
Shows/hides the Actions window. The Actions window is hidden by
default when you start Anime Studio.
Window Menu
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Welcome Screen
Help Menu
Opens the Welcome Screen.
Register Your Product
Register your product to receive information on updates and upgrades.
Internet connection will be required.
About Anime Studio
Help Menu
Help
Displays some information about Anime Studio, including which version
of Anime Studio you’re running.
About Scripts
Opens the Content Library.
Displays some information about all the scripts currently loaded by
Anime Studio. All of Anime Studio tools, and all the entries in the Scripts
menu are implemented in a scripting language called Lua. Although
some programming/scripting experience is required, Anime Studio users
are welcome to write their own scripts to extend Anime Studio’s built-in
features.
Online Tutorials
Buy Content
Opens a web browser with Anime Studio online tutorials. Internet
connection will be required.
Help speed up your animation workflow with ready to use content. Buy
content from Content Paradise. Internet connection will be required.
Opens this document, the Anime Studio User’s Manual.
Open Content Library
Anime Studio Menus
Anime Studio
Users Manual
Check For Updates
Check to see if there are any updates for Anime Studio. Internet
connection will be required.
Upgrade to Professional Version (Anime
Studio only)
Upgrade from Anime Studio to Anime Studio Professional. Internet
connection will be required. To see the differences in the two products,
please click here.
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Anime Studio Windows
Layers Window
An Anime Studio document is composed of layers, each of which can
be independently edited and animated. Layers can be thought of as
transparent sheets of plastic. You can draw separately on each of these
sheets, and the final picture is the composition of all the sheets stacked
on top of one another.
Layers can be added, removed, copied, and re-ordered. The Layers
window is where all these operations take place in Anime Studio, and is
the topic of this section.
Overview
The Layers window.
The Layers window has two sections of interest. As seen below, these
consist of the toolbar and the layer list.
The Layer List
Most of the Layers window is taken up with the layer list. This is
a vertical scrolling list of all the layers in the document. The layers
are stacked in order from bottom to top. That is, when the project is
displayed, the lowest layer in the list is drawn first, followed by the
second from the bottom, and so on up to the top. When two layers
contain objects that overlap, this ordering determines which object is in
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front and which is behind.
Each layer is represented in the list with an entry that looks something
like this:
box, the layer will turn invisible and will not appear in the main Anime
Studio window. This can be a convenient way to remove clutter in the
main window when you don’t need to see all the layers at once. Also,
only visible layers will appear when you render a view of the project
or export an animation - you can generate test movies much quicker if
you turn some layers invisible that don’t involve what you’re currently
working on. Note: the visibility box of the currently active layer behaves
differently. The currently active layer is always visible (how could you edit
it if it wasn’t?), and clicking its visibility box (while holding the Alt key)
will turn all the other layers at the same level visible or invisible.
To the right of the visibility control is an icon that indicates what type of
layer each entry in the layer list is. The different types of layers include
vector, image, group, bone, switch, particle, 3D, and note layers.
A single layer in Anime Studio.
Only one layer can be edited at a time in the Anime Studio working area.
The layer currently selected for editing (the active layer) is displayed
in a highlighted color. To select a different active layer, just click on its
entry in the layer list. A layer’s entry provides you with three pieces of
information: what type of layer it is, its name, and whether the layer is
visible.
At the left side of a layer’s entry in the list is a visibility control, which
controls whether a layer is visible or not. If a pair of eyes is visible in
this box, any objects drawn in the layer will appear in the main Anime
Studio window, as well as in any rendering of the project. If you click this
Certain types of layers act as “groups”, and can contain other layers
within them. (You can think of them like folders on your hard drive.)
These layers have a triangle on their left side. Clicking this triangle opens
and closes these group layers, allowing you to access or hide the sublayers they contain.
Layers can be re-ordered simply by dragging one layer above or below
another layer. Just click and drag the layer you want to move - you will
see a red insertion bar indicate where the layer will be placed when you
drop it. When the insertion bar appears at the location you choose, just
drop the layer and you’re done. You can also use this method to drag
sub-layers into or out of group layers. Layers can be re-ordered at any
time, although their order is not dynamic over time. That is, the layer
ordering cannot change in the middle of an animation, for example to
make one object appear to move in front of another object.
The last thing you can control in the layer list is the property set of any
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layer. By double-clicking a layer in the list, a dialog will appear with
various options controlling the appearance and behavior of the layer.
This dialog is described in the Layer Settings section below.
•
Layer Toolbar
Delete Layer: Deletes the current active layer. This operation
cannot be undone, so you will be asked to verify if this is really
what you want to do.
•
Layer Settings: This command brings up a dialog with various
controls to modify the layer’s appearance and behavior. The next
section, Layer Settings, goes into detail about these options. The
Layer Settings dialog can also be invoked by double-clicking the
current active layer in the layer list.
At the top of the Layer panel is a toolbar that provides several layer
operations. The buttons in the toolbar are described below:
layers inside it will be duplicated also.
Layer Settings
The Layer Settings dialog can be invoked either by double-clicking a
layer in the layer list, or by selecting a layer, then clicking the Layer
Settings button in the layer toolbar. The various controls are grouped
into tabs that we’ll describe in order.
General Tab
Layer Toolbar
•
New Layer: Adds a new, empty layer to the project. A popup
menu allows you to choose the type of layer you want to add. The
new layer is placed directly above the current active layer.
•
Duplicate Layer: Makes a copy of the current active layer and
adds it to the project. This new copy is placed directly above the
current active layer. If you duplicate a group layer, all of the sub-
This tab is available for all layer types, and controls general layer
properties.
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will appear in the layer list after you click the OK button. Good
names make working with large projects much easier. Examples of
layer names might be “Background”, “Body”, or “Head”.
•
Hide in editing view: Turn on this checkbox to hide the layer
while editing. The layer will still appear in rendered output, but will
be invisible in Anime Studio’s edit view. This can be useful to reduce
clutter and improve performance. Things you might consider hiding
in the editing view are background details, texture and detail layers,
or special effects like particle layers. Note that if a hidden layer is
the currently active layer, it will temporarily un-hide itself so that
you can edit whatever it contains.
•
Don’t render this layer: If this box is turned on, then the
layer will not appear in any rendered/exported movies. This option
is usually used for some kind of “helper” layer. For example, you
might draw a layer with some guide lines to help you draw and
animate a scene, but you don’t want those guides to appear in the
final output. Note layers have this option turned on by default.
Compositing Effects
General Layer Settings
•
Name: This field allows you to change the name of the layer. You
can type in any name for the layer you want here, and the name
This group of controls allow you to change certain layer properties over
time. When you modify any of these at a frame greater than 0, you will
add a keyframe to the corresponding layer effects channel. For example,
if you go to frame 1 and un-check “Visible”, then go to frame 20 and
re-check Visible, that layer will not appear in the final animation until
frame 20.
•
Visible: Controls whether a layer is visible in the final output.
It is important to note that this checkbox is totally independent
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of the visibility box displayed in the layer list: these are two
separate notions of visibility, and don’t affect each
other at all. The visibility control in the layer list is meant for
your editing convenience: you can turn one layer off while you
work on another. The visibility checkbox in this dialog is meant to
allow certain effects during an animation. For example, if you had
a layer with a drawing of a glowing lightbulb, you could un-check
the visibility of this layer at frame 1, then turn it on at frame 10, off
at frame 20, on at frame 30, etc. to create the effect of a blinking
light.
•
Blur radius: Lets you apply a blur (in pixels) to an entire layer to
simulate such effects as camera focus. The blur can be animated
over time to make a layer look like its coming in and out of focus.
•
Opacity: Allows you to modify the transparency of an entire layer.
An opacity value of 100 will not affect the layer at all, while a value
of 0 will make it totally transparent. By changing the value from
0 at frame 1 to 100 at frame 10, the layer will seem to gradually
appear out of nowhere, which in some cases is more desirable than
the type of on/off visibility provided by the “Visible” checkbox.
•
Auto shading radius: Allows you to simulate 2D ambient
occlusion effects. Double-click the desired layer, or highlight a
layer in the layers panel. Turn the Auto Shading option on and
set the radius to a value other than zero. A good starting point is
somewhere between 8 and 16 pixels.
Without Auto Shading
With Auto Shading
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•
Flip horizontally and Flip vertically: Clicking these boxes
flips the entire layer in the direction specified. (If the layer is a group
layer, then the sub-layers inside it get flipped as well.) This can be
convenient in the case where you want to duplicate a layer and
have the second copy face the first one as a mirror image.
Options
•
•
•
Rotate to follow path: When this checkbox is turned on, the
layer will automatically rotate to follow its direction of movement.
(Specifically, the “up” direction will turn to follow the direction of
layer translation.) This can be useful for creating things like flowing
arrows that need to point in their direction of movement.
Rotate to face camera: When this checkbox is turned on,
the layer will automatically rotate around its vertical axis so that
it always faces the camera. This can be useful when using Anime
Studio’s 3D camera - especially for scenery-type objects. Trees, for
example, that always face the camera can save you a lot of work.
Use HSV modifier image: This checkbox lets you use an
image file to distort the colors of the layer. Sometimes you may
want to do this to break up the solid colors in your project and
make it look less computerized. The exact behavior of this feature
is difficult to explain. The best way to try it out is to use one of the
HSV modifier images included with Anime Studio. These images
should be pretty close to 50% gray. Other images may produce
bizarre, unexpected results. Feel free to experiment - you can always
turn off this checkbox if you don’t like the results.
•
Scale compensation: When this box is checked (as it is by
default), and you scale an entire layer larger or smaller, the lines in
the final rendered output will automatically get thicker or thinner
so that they retain their relative weight in the overall image. Also,
layer effects like blurs and shadows will become larger or smaller to
match the scale of the layer.
•
Immune to camera movements: Sometimes you may
want to make some layers ignore camera movements. For example,
certain backgrounds or title or logo layers you may want to stay in
one place on the screen even while you move the camera around.
•
Immune to depth of field: The depth of field function (in
the Project Settings dialog) lets you simulate the blurring of objects
with different distances from the camera. This option allows you to
turn off this effect for any particular layer.
•
Layer blending mode: Normally, layers are composited on top
of each other simply according to the transparency of each layer.
The layer blending mode popup lets you select a different blending
mode for each layer. This can be very useful for simulating shading
and lighting effects.
Shadows Tab
The controls in this tab allow you to apply automatic shadows and
shading to an entire layer.
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Layer Shadow
This section lets you apply a drop-shadow effect to a layer.
•
Shadow On: Checking the “Shadow on” checkbox will make all
objects in the layer cast shadows on the layers underneath.
•
Offset: Controls how far the shadow appears from the actual
objects. A larger offset makes objects appear higher up above the
layers below them.
•
Blur: Determines how hard or soft the edges of the shadow
appear.
•
Expansion: Allows you to expand the reach of the shadow. This
can be useful for halo-type effects. Try an Offset of 0, Blur of 8, and
Expansion of 8.
•
Shadow Color: Clicking on the “Shadow color” color swatch
lets you change the color of the shadow that is being cast. You can
also modify the transparency of the shadow with this control.
•
Shadow Direction: Controls the direction the shadow is cast.
Just drag the knob in circles to change the direction of the shadow.
Layer Shading
Shadows Layer Settings
This section is similar to the “Layer Shadow” section above. However,
instead of producing a shadow effect behind the layer, these controls
let you apply a shading effect on top of the layer.
•
Shading On: Checking the “Shading on” checkbox will make all
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objects in the layer appear shaded, giving them a rounded edges
effect.
•
Offset: Controls how far inside the layer the shading appears. A
larger offset makes objects appear to have more “rounded” edges.
•
Blur: Determines how hard or soft the edges of the shading
appear.
•
Contraction: Allows you to pull the shading further into the
center of the layer.
•
Shading Color: Clicking on the “Shading color” color swatch
lets you change the color of the shading that is applied. You can
also modify the transparency of the shading with this control.
•
Shading Direction: Controls the direction the shading appears.
Just drag the knob in circles to change the direction of the shading.
Motion Blur Tab
The controls in this tab control the motion blur effect for this layer.
Motion blur can be turned on and off during the course of an animation.
Motion Blur Layer Settings
•
Motion Blur On: Checking “Motion blur on” turns on the
effect. The default settings work pretty well for a basic motion blur
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effect.
•
Frame Count: Controls how many copies of the layer should
trail behind itself. The higher this number, the longer it will take to
render your animation. Sometimes a high number may be used for
an exaggerated anime or cartoon effect.
•
Frame Skip: Controls the separation between blur frames. A
larger number will cause the blur effect to trail farther out behind
the current position.
•
Start Opacity and End Opacity: Control how the blur fades
away behind the layer. Generally, a motion blur effect will fade a
bit as it trails behind the layer. For some special effects, however,
you may not want the motion blur to fade at all. In those cases, set
both values to 100 to keep the motion blur completely opaque.
•
Blur Radius: Controls the radius (in pixels) of the motion blur
effect.
Masking Tab
This tab is used to control layer masking. Layer masking controls the
visible region of a layer - objects in a layer that are not within the visible
region of the mask will not appear in the final output.
Masking Layer Settings
If the layer is a group or bone layer, then the following additional
options are available: “No masking in this group” means that no
masking will occur in this group. “Mask on - reveal all” means that
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masking is on, and by default all sub-layers will be fully visible. “Mask on
- hide all” means that masking is on, and by default all sub-layers will be
invisible (this is the most common option when using layer masking).
All other layers inside a group will have the following options for layer
masking:
•
Mask this layer: Clip this layer against the current mask.
•
Don’t mask this layer: Skip all masking operations for this
layer.
•
+ Add to mask: Add this layer to the mask. Any higher layers
will be visible wherever this layer is visible.
•
+ Add to mask, but keep invisible: Add this layer to the
mask, but don’t show it in the final output.
•
- Subtract from mask: Use this layer to cut a hole in the
current mask.
•
+ Clear the mask, then add this layer to it: This makes
the mask identical to the transparency value of the current layer.
Vectors Tab
This tab is only available for vector layers, and controls the appearance
of lines and fills in the layer. The controls here enable the vector “noise
effect”. By adding “noise” to a layer, you can make it look more handdrawn, or at least get rid of some of that pesky computer precision. Of
course, that’s up to artistic interpretation: if you like computer precision,
the noise effect may not be the feature for you.
Exclude Strokes: Check this option to exclude outlines from
the mask.
The masking controls are simple but powerful options that can be used
for all kinds of creative tricks. The best way to explain these is with a
hands-on example that you can try out in the Tutorials section.
•
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all the shapes in the layer will become distorted. However, if you
check only one, the effect will look like someone was coloring but
didn’t stay in the lines. The circle displayed on the right side shows
a preview of what your noise effect settings will do to the final
drawing. (The best way to understand this feature is to just start
clicking the checkboxes and watch the circle.)
•
Animated noise: Controls whether the noise factor will
vary over time in your animation. This can lead to either a very
distracting look, or a very sketchy, free-form one, depending on
your tastes. Again, experiment with this and watch the circle.
•
Extra Sketchy:
•
Offset: Determines how far in pixels (on average) your drawing
will be distorted from its original shape.
•
Scale: Determines the “jaggedness” of the distortion. Larger scale
numbers will result in smoother, lumpier distortion, while smaller
numbers will give you a more scribbled look.
•
Line Count: Tells Anime Studio to draw a number of lines,
distorting each in a different way.
Depth Sort
Vectors Layer Settings
•
Noisy Outlines and Noisy Fills: The first two checkboxes
turn on noise for outlines and/or fills. If you turn on both of these,
This tab is only available for group and bone layers. Depth Sort has two
controls that can be used with Anime Studio’s 3D features.
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drawn in the order they appear in the Layers panel. However, with
this option turned on, layers are displayed according to how far
they are from the camera. See the Tutorials section for an example
of using this feature. Typically, layers are sorted by their depth from
the camera, but if you’re trying to create a 3D object using multiple
Anime Studio layers (like a cube or pyramid), you may want to turn
on
•
Sort by True Distance: Tells Anime Studio to sort layers by
the distance from the camera to the layers’ origins, rather than by
depth. Usually this option will be left un-checked.
Image
This tab is only available for image layers. There are five options in this
tab.
Depth Sort Layer Settings
•
Sort Layers by Depth: Allows sub-layers to move in front of
and behind each other during an animation. Normally, layers are
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lost for some reason.
•
AVI movie has alpha: Turn this on if the image layer is using
an AVI movie, and that movie includes an alpha channel.
•
Loop movie indefinitely:
•
Movie FPS:
•
Warp using bones: If this box is checked and the image layer
is placed inside a bone layer, the bones can be used to warp the
image as if it were printed on a rubber sheet.
Switch
This tab is only available for switch layers.
Image Layer Settings
•
Source Image: Lets you select the image to be used in the
image layer. Use this if you want to change the image, or if it got
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control a Switch layer manually by right-clicking its entry in the
Layers window), but if you do want to use a data file you have two
choices:
•

You can create a switch data file for lip-syncing using the free
program Papagayo.

If you want a quicker lip-sync solution, you can use an audio
file as a data file. In this case, your switch file should contain
several version of a mouth shape, ranging from closed to
wide open. The volume of the audio file will control which
mouth shape is used at which frame. If you do use an audio
file to control the Switch layer, you can either use automatic
volume gain (recommended) or set the gain manually. The
gain controls how wide the mouth gets. When using manual
gain, start with a value of 1 - if the mouth seems too wide, try
smaller values (0.75 or 0.5). If the mouth isn’t wide enough,
try higher gain values (1.5 or 2). See the Tutorials section for
an example of using this function.
Interpolate sub-layers: If this box is checked Anime Studio
will do smooth transitions between the sub-layers as long as they’re
all vector layers and contain the same number of points.
Particles
Switch Layer Settings
•
This tab is only available for particle layers. The description for how these
controls affect a particle layer can be found in “Particle Layers (Anime
Studio Pro Only)” on page 160.
Select Audio Sync Source: Lets you select a data file used
to control the switch layer. A data file is not required (you can
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Particles Layer Settings
3D Options
This tab is only available for 3D layers.
3D Options Layer Settings
•
Default color and Edge color: Allows you to adjust the color
of the 3D model. If you imported a 3D model that includes colors
and textures, then those will be used instead. The default color is
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only used when no color is defined by the model itself.
•
Polygon orientation: Allows you to adjust whether the
polygons in your model are oriented clockwise or counter-clockwise.
After importing a model, if it looks turned inside-out or otherwise
distorted, try switching the polygon orientation.
•
Edge offset: Lets you fine-tune how much offset is used to draw
the anime or cartoon edges around your 3D model. A value of zero
corresponds to no cartoon edge at all.
•
Warp using bones: If this box is checked and the 3D layer is
placed inside a bone layer, the bones can be used to warp the 3D
model. Be aware that although the model is three-dimensional,
bone layers are only two-dimensional, so you will be limited in the
ways you can control the 3D object using bones.
•
Reset Z buffer:
Note
This tab is only available for note layers, and lets you change the text
label in the note.
Notes Layer Settings
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Style Window
Fill
The Style window is where you set up colors, line widths, fill effects, and
other properties to control the appearance of your vector artwork. The
Style window has a lot of controls, but it’s not too hard to understand if
you break them down into sections:
These controls allow you to set the appearance of a shape’s fill region.
First, be sure that “Enable fill” is turned on or off, depending whether
you want that shape to be filled or not. Click the fill color rectangle to
pick a new color for the fill. A color picker dialog will appear. In addition
to the actual color of the fill, you can choose the level of transparency in
the color picker dialog.
The Style window has two views. With the Advanced option unchecked,
the following options appear:
Anime Studio’s color picker.
Style window
If a style has been applied to this shape, the style’s color will be used
instead of the shape’s color. Turn on the checkbox to the left of the color
swatch to override the style’s color.
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Below the fill color are two popup menus that allow you to choose one
or two fill effects to be applied. These effects include such things as color
gradients, spots, and shading effects. Just pick an effect from the menu
to apply it to the fill. If you choose two effects, they will be applied in
order, one on top of the other. For example, you could choose “Gradient”
for the first effect and “Spots” for the second effect. The result would
be a color gradient for the background of the fill, with spots drawn on
top of it.
•
Shadow Only: Check this option to only display the shadow,
without the object that is used to generate the shadow.
To the right of the fill effects are buttons that allow you to control
the specifics of the fill effect. If a fill effect has been chosen from the
popup menu, these buttons will bring up dialogs that are described in
the following sections. Some fill and line effects can be animated, with
keyframes being added to the timeline when you change colors, blur
radius, angles, offsets, blurs, and more.
Shaded Fill Effects
When you choose Shaded Fill effects, a dialog displays the following
options:
•
Light Angle: Provides a dial that allows you to change the
direction that the light is coming from. You can also enter a
numerical value. Zero degrees is located at the bottom of the dial.
Shaded Fill Options
•
Offset: Allows you to assign a value for how far the shadow is
offset from the filled area
Soft Edge Fill Effects
•
Blur: Controls the softness of the shadow.
•
Shadow Color: Allows you to choose the shadow color from a
color palette.
When you choose Soft Edge Fill effects, a dialog displays the following
options:
•
Blur Radius: Allows you to increase or decrease the softness, or
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blur, around the edge of the fill.
Soft Edge Fill Options
Halo Fill Effects
When you choose Halo Fill effects, a dialog displays the following
options:
•
Onset Radius: Adjusts the radius of the inner area
•
Blur Radius: Adjusts the softness around the halo
•
Halo Color: Click the Color chip to select a color for the halo.
•
Halo Only: Check this option to only add the halo effect to the
layer.
Halo Fill Options
Gradient Fill Effects
Gradient fill effects can be animated and can also respond to bone
warping. You can animate the location and color of all of the color
markers in the gradient. All changes in color will show up in the timeline
when added.
This is the dialog used to control the gradient effect. The following
options appear:
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Type: Allows you to choose one of four types of gradient effects::
Linear, Radial, Reflected, or Angle. The preview shows an example
of each type.
Below that are two controls for the colors at each end of the gradient.
Finally, a preview area: after modifying the other controls, this region will
display a small preview of the effect. You can also add additional colors
to the gradient. Select an existing color marker, and press the Alt key
while you drag a copy of it to a new location on the gradient bar. Then
click the color chip to choose a new color for the marker.
•
used as a texture fill.
•
Tile: Choose this option if you want the image to repeat more than
once to fill the selected area
•
Don’t Repeat: Choose this option if you do not want to repeat
image used for the fill. The image will be rescaled proportionally as
needed to fit the width or height of the area that will be filled.
Gradient Fill Options
Image Texture Fill Options
Image Texture Fill Effects
When you choose Image Texture Fill effects, a dialog displays the
following options:
•
Select Texture: Click this button to choose an image file to be
Stroke
These controls allow you to set the appearance of a shape’s outline.
First, be sure that “Stroke” is turned on or off, depending whether you
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want that shape to have an outline or not. Click the line color rectangle
to pick a new color for the outline. If a style has been applied to this
shape, the style’s color will be used instead of the shape’s color. Turn on
the checkbox to the left of the color swatch to override the style’s color.
Stroke Options
Below the line color is a text field used to set the line width in pixels. If
a style has been applied to this shape, the style’s line width will be used
instead of the shape’s. Turn on the checkbox to the left of the line width
to override the style’s width setting.
To the right of the line color is a box that displays a preview of the brush
used to draw the line (Anime Studio Pro only). Click the box to select a
brush.
Brush Options
Finally, the last control in the Outline section is a popup menu used to
apply a line effect to the shape’s outline.
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Color Swatches
Finally, at the bottom of the Style window is a color picker. You can use
this as a shortcut for selecting colors for your objects. Just click a color
in this palette to assign it as the selected shape’s fill color. Right-click a
color swatch to assign it as the selected shape’s outline color.
The “Swatches” popup menu lets you select from different sets of color
swatches. These color swatches are just image files stored in a folder
called “swatches”. You can add your own image files to this folder, and
they will appear in the Swatches popup menu the next time you start
Anime Studio. Or, you can select “Custom Image...” from the popup
menu and Anime Studio will prompt you to select an image file to use.
Other
There are three buttons that we’ve classified as “other” controls. Press
“Reset” to switch back to editing the default fill and line properties - if
a shape or style is currently selected, it will be de-selected. Press “Copy”
to copy the properties of the selected shape or style. Finally, press
“Paste” to apply a previously copied set of properties to another shape
or style.
Advanced Options
To view the advanced options, check the Advanced option that appears
at the bottom of the Style window. The following additional options
appear:
Advanced Style Options
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Shapes
Styles (Anime Studio Pro only)
The Current Shape controls let you select and name shapes and styles.
The Shapes popup menu lets you select a shape in the current layer. Only
named shapes appear in this menu - to name a shape, simply select it in
the editing window and enter a name into the “Name” field.
Below the Outline controls are two popup menus used to apply styles to
a shape. By selecting styles from these menus, you can apply up to two
styles to a shape. The applied styles will be used to control the shape’s
color, line width, brush, fill effects, etc. Styles are very useful when you
want to re-use the same appearance on several objects in a scene - if
you later need to modify those objects, all you need to change is a single
style. These popup menus let you apply styles to a shape - to create
or edit styles, use the Styles popup menu at the very top of the Style
window.
The Style popup menu provides you with a list of all styles in the
document. A style is the same set of information used by a shape (color,
line width, line brush, effects, etc.), but it doesn’t actually appear on its
own in your animation. Instead, after creating a style, you can apply that
style to one or more shapes. For example, you might create a “Skin”
style, and apply it to all the body parts of a character. Later, if you want
to change the color of the character, just modify the Skin style, and any
shapes that use that style will change instantly. Use the Style popup
menu to create new styles and to select a style for editing. The Tutorials
section of this manual will walk you through the process of creating and
using styles.
Just above the Name field is a text label that indicates the currentlyselected shape or style. When no shape or style is selected, this label will
say “Defaults” - any changes to fill color, line width, etc. that you make
in the style window will be applied to any new shapes you create. When
a shape is selected, the label will say “Shape” - any changes you make
now will apply to just that one shape. Finally, when a style is selected,
the label will say “Style” - any changes you make to a style will not only
affect that style, but also any shapes that use that style.
Timeline Window
Overview
The Timeline window is used when animating in Anime Studio to control
the current time, and to control objects’ keyframes.
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Animation channels are not displayed in the timeline until you add them to your
project.
If you then rotate the layer, you’ll see the Rotation channel added to the
timeline, along with its keyframe.
The Anime Studio timeline.
A rotation channel added to the timeline.
The Timeline window only displays information about the currently
active layer in the project. When you switch to a new layer, the timeline
panel will update its display to show the new layer’s keyframes.
There are several new features in the way that keyframes are displayed.
In previous versions of Anime Studio, all keyframe types were displayed
in the timeline. For example, you would see keyframe types for bone
changes, layer translation, layer scale, layer rotation, and color changes
whether or not they were actually being used. If you were looking for a
particular change, it could be hard to find what you were looking for.
There is a Preferences option that allows you to consolidate timeline
channels. This option is off by default in Anime Studio Pro 6, and on by
default in Anime Studio Debut 6.
The timeline view is now much simplified. Changes are not displayed in
the timeline until you actually create a keyframe change in a channel.
For example, you won’t see a change in the Bone channel until you
actually move a bone.
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A timeline that is not consolidated (top), and a consolidated timeline (bottom)..
NOTE: The consolidated timeline view displays a keyframe when
there is a change in any of the consolidated layers. If you delete
a keyframe, you may not be sure which type of keyframe you are
deleting , or whether or not there are multiple keyframes being
deleted at that point. Be sure to uncheck the Consolidate Timeline
Channels option in the Preferences dialog before you remove any
keyframes from your timeline.
Uncheck the Consolidate Timeline Channels option before you delete keyframes.
This option combines all changes on a single layer into one line in
the timeline. The following image shows an example of a layer that
has several channel changes (top), and what the layer looks like if the
Consolidate Timeline Channels option is active (bottom).
Controlling Time
The top of the Timeline window has controls for setting the current
time. Whenever you modify an object in Anime Studio, the modification
is recorded at the current time. The process of modifying an object,
changing the time, and modifying it again is how an animation is
created in Anime Studio. Time in Anime Studio is expressed in terms of
“frames”, where there are x number of frames in a second. By default, a
new Anime Studio project has 24 frames per second, although this value
can be adjusted in the Project Settings dialog.
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The first set of controls for adjusting time is a set of VCR-like playback
buttons. (These are actually at the bottom of the main window, not in
the Timeline window itself.) From left to right these buttons are: rewind,
step back, stop, play, step forward, and jump to end.
new value here and pressing enter.
Directly below the frame field is a sort of ruler that measures time. This
time ruler has small tick marks, one per frame, and has labeled frame
numbers at intervals along its length. The time ruler also displays the
current frame with a red triangular marker above the current frame’s
tick mark. The time ruler is used both as an indicator of the current time,
as well as a control to adjust it. By clicking (or clicking and dragging)
anywhere on the time ruler, you can change the current frame.
A certain range of frames in the time ruler are shaded with a darker
color. This shaded region indicates the length of your animation. When
you play back your animation in Anime Studio or export it as a movie
file, this shaded region is the part that will play back. You can change
the start and end frames of your animation in the Project Settings
dialog, or you can Alt-click in the time ruler to set a new start and/or
end time. Alt-Click with the left mouse button to set the start of your
animation, and Alt-click with the right mouse button to set the end.
Playback controls.
Rewind sets the current frame to 0, while jump to end sets the current
frame to the last one in the animation (the length of the animation is
defined by the shaded area in the time ruler). The step forward and back
buttons advance and back up by one frame. The play button plays back
the animation in the main editing area, repeating playback in a loop.
Finally, the stop button stops playback.
At the top-left of the Timeline window is a text control that indicates the
current frame number. You can change the current frame by typing in a
Next, just below the time ruler, is the onionskin controller. It has tick
marks that line up with the frames in the time ruler. By clicking one of
these tick marks, you can turn on an “onionskin” frame. An onionskin
frame appears as just an outline superimposed on the current frame,
and is used to compare your animation at two different times at once.
This is helpful for lining up certain complex motions. Click an onionskin
marker again to turn it off. If you turn on the “Relative frames” checkbox
in the Onionskins popup box, Anime Studio will move the onionskin
frames along with the current time so that they maintain the same
relative distance from one another. You can also turn on the “Selected
layer only” checkbox to tell Anime Studio to display onionskins for just
the currently active layer. Anime Studio can display up to 8 onionskin
frames.
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Playing a Partial Segment
Sometimes, you may want to play back just a short segment of the
timeline, instead of your entire animation. For example, you may be
working on one small move, and you want to play it back over and over
while you make small changes to see when you’ve got it just right.
be displayed at once in the timeline. For example, you won’t often have
to refer to the Layer Shading channel in the timeline. Hidden channels
are still doing their work behind the scenes, they just aren’t displayed in
the timeline.
Layer Motion Channels
To set a limited segment of the timeline for playback, hold down the
Ctrl key while you click in the time ruler. Click with the left mouse
button to set the beginning of the segment, and click with the right
mouse button to set the endpoint. To remove the limited playback
segment, Ctrl-click on the segment endpoints to remove them from the
timeline.
Animation Channels
Most of the timeline panel is taken up with animation channels, drawn
as horizontal bars below the time ruler. Each animation channel displays
a certain type of motion or effect that can take place in an Anime
Studio animation. Different types of layers have different animation
channels available. For example, vector layers are the only ones with a
point animation channel, and bone layers are the only ones with bone
animation channels. At the left end of each animation channel is a small
icon that indicates what type of channel it is. Shown below are the icons
for the various types of animation channels. Note that the red-colored
channel icons represent animation for the currently selected object. (If
you’re ever unsure about which channel an channel icon refers to, just
hold your mouse over it momentarily for a tooltip reminder.)
Note: To help reduce visual clutter, not all animation channels have to
Layer Motion channels.
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Layer Effect Channels
Vector-Only Channels
Camera Channels
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Bone-Only Channels
Particle-Only Channels
Along the length of an animation channel are displayed keyframes. A
keyframe represents a point in time at which you, the animator, made
a modification to an object. For example, if you set the current time
to frame 24, then scale the layer, a keyframe will appear in the layer
scale channel at frame 24. Keyframes appear as small markers on the
channels. At points in time that lie in between keyframes, Anime Studio
automatically calculates how to move an object from one keyframe
position to the next.
Switch-Only Channels
Working with Keyframes
Keyframes are not just static elements displayed in the animation
channels. They can be moved, deleted, and copied. To modify a keyframe,
first it must be selected. This is accomplished simply by clicking a
keyframe in the timeline panel. A selected keyframe shows up in a
highlighted color. Multiple keyframes may be selected by holding the
shift key while clicking on keyframes. Alternatively, you can click and
drag a rectangular selection box around the group of keyframes you
want selected.
To delete selected keyframe(s), either click the “Delete” button in
the timeline, or press the Alt+Backspace keys. Deleting a keyframe
removes motion from an object. Keyframes can also be moved by
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dragging them forward and back in time. If you want some motion to
take less time, drag its keyframe to the left. To take more time, drag it to
the right.
As mentioned before, Anime Studio automatically calculates what
happens in between keyframes. However, you do have some control over
this. By default, Anime Studio will compute a smooth transition from one
keyframe to the next - most of the time, this is probably what you want.
However, you can change the transition type by right-clicking a keyframe
and choosing a new method from the popup menu that appears. The
transition methods are: smooth (the default), ease in/out (also a smooth
motion, but the object starts off moving kind of slowly and slows down
again as it approaches the next keyframe), linear (motion is straight
from one keyframe to the next, leading to a somewhat mechanical look
to the motion), step (there is no transition at all - the object just jumps
from one keyframe to the next), noisy (the object moves in a slightly
wobbly motion), and cycle (the value from this keyframe to the next will
be taken from some earlier section of the timeline).
Another way of creating keyframes is to copy an object’s position from
another point in time. To do this, first select the keyframes you want to
copy. Next, click “Copy” in the timeline (or press Alt+C). Now, set the
current frame to when you want the copied keyframe to appear (using
the time ruler or the step forward/back buttons). Finally, click “Paste”
in the timeline (or press Alt+V) to place a copy of the keyframes at the
current time.
Sequencer
The sequencer, new to Anime Studio Debut 6 and Anime Studio Pro 6,
provides another view of the timeline. It displays each layer as a block
of time. Keyframe changes are not displayed in the sequencer, but you
can create keyframe changes in this view.
The Sequencer.
The Sequencer allows you to easily move a layer forward or backward
in time. Move the clip toward the left to have it start sooner, or toward
the right to have it start later. The green arrow in the time ruler, located
at the top of the Sequencer timeline, indicates the frame at which the
currently selected clip will start.
NOTE: You can also reposition your clips in the Channels timeline view.
Select the channel you want to move, then right-click in the Time Ruler
to drag the green arrow to the right or left. You’ll notice the keyframes
and arrow relocate with the mouse.
For example, you can reposition a layer from frame 1 to frame 38,
causing the animation in that layer to start at a later time. To move a
layer and its sublayers, click the topmost layer and move all of them at
the same time. To move a sublayer, click the desired sublayer to move it
on its own.
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Select a layer to move it and its sublayers.
You can also move a sublayer by itself.
You can also use the sequencer to show or hide a layer at any time
during the movie. Advance to the frame where you want the layer to
become invisible. Open the Layer Settings dialog for the layer that you
want to hide, uncheck the Visible checkbox, and close the Layer Settings
dialog. The contents in the layer will disappear in the project window,
and the track in the sequencer will appear as though it ends at the point
where it was hidden.
Check or uncheck the Visible setting in the Layer Settings dialog to show or hide a
layer.
To make the layer reappear later in the timeline, repeat the process.
Select the layer you want to unhide, open the Layer Settings dialog, and
check the Visible checkbox. After you close the Layer Settings dialog the
layer will reappear in the sequencer.
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Motion Graph (Anime Studio Pro only)
In the Motion Graph in the Timeline window, you can enable Anime
Studio’s graph mode. In graph mode, the animation channels of the
current layer are displayed graphically, rather than just as points along a
line. In the example below you can see what graph mode looks like:
The sequencer shows a break where the layer is hidden.
If you import an audio file, it has a fixed duration in the sequencer. You
can see where the sound effect will happen. Say you want a pop to
happen when your character disappears from the scene. You can place
the pop in the right place.
It works the same way if you import a video layer. For example, if you
want an explosion to happen just before the pop, you can import a
video layer and place it just before the sound effect.
You can precisely place audio and video files in Sequencer view.
The Timeline window in graph mode.
The main body of the timeline is now a graph, showing the value of
the animation channels as curves. The horizontal dimension represents
time in frames (just as in the regular timeline mode), and the vertical
dimension represents the value of the animation channels. If all
animation channels were displayed at once, the graph would become
too cluttered to be useful, so it’s up to you which channels to display at
any given time. To turn the display of a channel on and off, click its icon
on the left side of the timeline. Channels that are turned on become
highlighted in the color of their respective curves in the graph - in the
above example, two channels are turned on: Layer Scale and Layer Z
Rotation.
To further reduce clutter, only one channel can be active in editing mode
at a time. The active channel’s icon on the left is outlined to indicate this
- here the Layer Z Rotation channel is active. Double-click a channel icon
to activate it. The active channel is the only one that has its keyframes
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displayed in the graph - the keyframes look the same as in regular mode.
Depending on the values in your animation channels, the curves on the
graph may be too large to view, or too small to work with easily. You
can change the vertical scale of the graph in the following ways: First,
you can set the vertical scale numerically in the “Scale” text field in the
Graph Mode popup. Second, pressing the Page Up/Page Down keys
will zoom in and out vertically. If you hold the Shift key while pressing
Page Up/Page Down, you can move the graph up and down. Finally,
if you press the End key, the graph will automatically scale itself to
accommodate the currently active channel.
In graph mode, you can still add keyframes (use the popup menu
through the right mouse button), delete keyframes, and move keyframes
back and forth. In addition, you can move keyframes vertically - that is,
change the value of keyframes. To restrict the movement of keyframes,
hold down the Ctrl key while dragging keys to move them horizontally,
or hold the Alt key to move them vertically.
Something that will become apparent in graph mode is that some
channels have more than one value for every keyframe. For example, the
Layer Translation channel has separate values for X, Y, and Z translation.
These values will appear as separate curves in the graph, although they
have the same color. Each of these curves is thicker than the last - the
thinnest curve represents the X value of the channel, the medium Y, and
the thickest curve, Z.
Another thing you may notice when using animation cycling: A channel
that cycles will have a repeating curve, without more keyframes after
the one that cycles. This is illustrated in the above picture for the Layer Z
Rotation channel.
For a hands-on example of using the timeline in graph mode, see the
Tutorials section.
Actions Window (Anime Studio
Pro Only)
In Anime Studio, “actions” are short clips of animation that can be
inserted into the timeline and re-used over and over again. You might
use actions to create little bits of animation that you don’t want to
have to re-create each and every time you use them - for example, eye
blinks, head turns, walk cycles, etc. The Actions window (as you may
have guessed) is where you create and use actions. The Tutorials section
of this manual will show you step-by-step how to use actions in Anime
Studio.
When you start up Anime Studio, the Actions window is hidden. To bring
it up, select “Actions” from the Window menu. The Actions window looks
like this:
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layers.
Creating a New Layer
Editing Actions
The Actions window.
Across the top of the window are four buttons: New Action, Insert
Reference, Insert Copy, Delete Action. Below the buttons is the actions
list, which contains a list of all actions available for the current layer.
New layers have no actions, just “Mainline”, which represents the main
animation timeline.
To edit an action, double-click it - this will switch an action into editing
mode. (When you create a new action, it also starts off in editing mode.)
You can tell which action is in editing mode by the red arrow to its left,
as seen below.
Creating New Actions
To create a new action, just click the New Action button. Anime Studio
will prompt you to name the action. The new action is created in the
current layer and, if the layer is a group-type layer, in all of its child
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Using Actions
When you simply create actions, they won’t appear in the final
animation - they need to be used in the main timeline. To use an action,
you just need to insert it into the main timeline, which is a simple
process. First, make sure the “Mainline” action is active (double-click it
so that it has a red arrow next to it). Second, set the current time to the
frame at which you wish to use the action. Next, click once on the action
you wish to use to highlight it. Finally, click either the “Insert Reference”
or “Insert Copy” buttons in the Actions window. This is what the Actions
window would look like just before inserting the “Step” action:
The Blink action in editing mode.
When you’re editing an action, you’ll also notice a couple things change
in the Timeline window. First, the title bar of the timeline will indicate the
active action. Second, the background of the timeline changes color to
remind you that you’re editing an action, and not the main timeline.
As you edit an action, the timeline works like normal, but instead of
working on your main animation, you’re working on a little reusable clip.
Actions by themselves do not appear in your final animation - they only
appear if you use them in the main timeline. To switch back to the main
timeline, double-click on the “Mainline” action in the actions window.
(Mainline is not really an action - it’s just a way to refer to the main
animation timeline.)
Inserting an action.
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If you insert an action by reference, Anime Studio will insert a special
keyframe in the Mainline that refers back to the action you used. Later,
if you make changes to the action, these changes will automatically be
reflected in the mainline. On the other hand, if you insert an action by
copy, Anime Studio will simply copy all of the keyframes in the action to
the mainline, and they will act just like other normal keyframes. If you
later modify the action, any changes you make will not appear in the
mainline.
Deleting Actions
To delete an action, click once to make sure it is highlighted, then click
the Delete Action button. When you delete an action, if that action
was inserted by reference into the mainline at any point, those inserted
references will also disappear. If you inserted the action as a copy, those
copies will remain unchanged.
Creating Morphs
Anime Studio 6 allows you to blend several different morph targets
together to create a combination of actions or effects. For further
information on this feature, see “Blend Morphs” on page 247.
The Actions window.
To create a new morph, click the New Action button (the first button in
the Actions toolbar). Enter a name for your morph in the Action Name
dialog.
To create morph that you can use with the Animation > Blend Poses
command, choose Window > Actions to open the Actions window.
This window allows you to create little reusable clips of single-frame
animations.
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keyframes are on Frame 1. This is very important when blending poses.
A general action can have as many keyframes as you like … but if you
want to blend poses, the action can only contain a single keyframe at
Frame 1.
Assign a name for your morph.
Then, move some points around in your scene to represent the morph
that you are creating. The following shows an example of the scene
before and after the Happy changes are made:
Select the Happy morph in the Actions window, and notice a single keyframe in the
timeline.
Continue creating additional actions that you want to blend together.
In our demonstration, we have created two additional actions – Angry,
and Sad – both shown in the following image. Note that your action can
change keyframes for anything. In addition to moving some points, the
Angry action also changes the color of the face. Now you should have a
number of actions, all with single-frame animations that have keyframes
on frame 1.
Default state (left) and Happy morph (right).
After you create your new morph, click the Mainline (top) line in the
Actions window. The character should return to its default state. Select
the Happy action again in the Actions window, and notice a singleframe action in the Channels tab of the timeline. Notice that all of the
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You can morph any type of value. The Angry morph will change the color of the face in
addition to changing the facial features.
Library Window
In previous versions of Anime Studio, you could access the library by
choosing Import > and selecting content from one of the various
subcategories. This is the method used in previous versions of Anime
Studio.
Selecting content from the File > Import command.
In Anime Studio 6 there two new ways that you can access content in
the new library window:
•
Choose Window > Library
•
Click the Library button in the top-right corner of the Status bar.
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of choices that you can select from. Click a name in the left panel to
display a preview in the right. When you find the object you want to
use, click OK to insert it into your scene.
Library content with additional options.
The Library Window.
The Content library opens to display items in your library. Icons display
movies, folders, sound files, and other Anime Studio documents in your
library.
•
Use the zoom tools in the upper right corner of the Content Library
window to increase or decrease the size of the icons.
•
Double-click a folder icon to open the folder. The contents within
that folder will be displayed.
•
Double-click a content item to insert it into your project.
•
Some content items may come with additional options. For example
if you double-click the Backgrounds item, a dialog displays a menu
The status bar at the top of the Content Library displays buttons that
allow you to back up to previous levels.
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Use buttons in the top toolbar to navigate backward to previous folder levels.
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Appendix
Anime Studio Shortcuts
How to work quickly in Anime Studio
Once you’ve been using Anime Studio for a while, you’ll probably want
to find ways to speed up certain operations. Luckily, Anime Studio
provides several shortcuts for common operations, such as activating
tools, navigating the workspace, and entering data.

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Product Comparison
Perspective Points H
X
Perspective Points V
X
The differences between Anime Studio Standard and Pro
Bend Points H
X
Bend Points V
X
Noise
X
Magnet
X
Snap to Grid
X
Reset Line Width
X
Random Line Width
X
Vector Drawing Features
Feature
Anime
Studio
Anime
Studio Pro
Text
X
X
Select Points
X
X
Translate Points
X
X
Scale Points
X
X
Rotate Points
X
X
Add Point
X
X
Delete Edge
X
Curvature
Freehand
X
X
Vector Modifiers
Feature
Anime
Studio
Anime
Studio Pro
X
Peak
X
X
X
Smooth
X
X
X
Flip Points Horizontally
X
X
Flip Points Vertically
X
X
Rectangle
X
X
Oval
X
X
Arrow
X
Shear Points X
X
Shear Points Y
X
Product Comparison
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Bone Features
Fill Features
Feature
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Studio
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Studio Pro
Feature
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Studio
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Studio Pro
Select Shape
X
X
Select Bone
X
X
Create Shape
X
X
Translate Bone
X
X
Paint Bucket
X
X
Scale Bone
X
X
Delete Shape
X
X
Rotate Bone
X
X
Line Width
X
X
Add Bone
X
X
Hide Edge
X
X
Reparent Bone
X
X
Bone Strength
X
X
Manipulate Bones
X
X
Bind Layer
X
X
Bind Points
X
X
Offset Bone
X
X
Feature
Anime
Studio
Anime
Studio Pro
Set Origin
X
X
Translate Layer
X
X
Scale Layer
X
X
Fill Modifiers
Feature
Anime
Studio
Anime
Studio Pro
Lower Shape
X
X
Raise Shape
X
X
Product Comparison
Layer Features
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Users Manual
Rotate Layer Z
X
X
Switch
Switch Layer
X
X
Group
X
Rotate Layer X
X
Particle
X
Rotate Layer Y
X
3D
X
Shear Layer X
X
Note
X
Shear Layer Y
X
Particle Layer
X
Layer Modifiers
Feature
Flip Layer Horizontally
Flip Layer Vertically
Anime
Studio
X
X
Anime
Studio Pro
X
X
Feature
Anime
Studio
Anime
Studio Pro
Vector
X
X
Bone
X
Camera Features
Feature
Anime
Studio
Anime
Studio Pro
Track Camera
X
X
Zoom Camera
X
X
Roll Camera
X
X
Pan/Tilt Camera
X
X
Workspace Features
Layer Types
Image
X
X
X
X
X
Feature
Anime
Studio
Anime
Studio Pro
Pan Workspace
X
X
Zoom Workspace
X
X
Rotate Workspace
X
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Orbit Workspace
X
Feature
Timeline Features
Feature
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Studio
Anime
Studio Pro
Keyframes
X
X
Playback Controls
X
X
Animation Channels
X
X
Ruler
X
X
Onionskins
X
Graph Mode
X
Action Features
Feature
Style Features
Anime
Studio
Anime
Studio Pro
Anime
Studio Pro
Save Style
X
Pattern Brush
X
Preferences
Feature
Anime
Studio
Anime
Studio Pro
Options
X
X
Editor Colors
X
GUI Colors
X
Project Settings
Feature
Anime
Studio
Anime
Studio Pro
X
Save Project Settings
X
X
X
Edit Dimensions
X
X
Background Color
X
X
Store Reusable Animation
X
Edit Reusable Animation
Delete Reusable Animation
Depth of Field
Product Comparison
Anime
Studio
X
Anime Studio
Users Manual
3D Camera
X
Camera
X
Stereo Rendering
X
Draw
X
Sort Layers by Depth
X
Image Sequences
X
Sort by True Distance
X
Layer Effects
X
Noise Grain
X
Particle Effects
X
Up to 120 Frames/Second Maximum
X
X
Sound
X
Maximum export size (pixels)
768 x 768
9000 x 9000
Warp
X
Maximum number of frames
3000
Unlimited
Visibility
X
Script Writing
X
Content
View
Feature
Anime
Studio
Anime
Studio Pro
Built in Content
X
X
User Samples
X
3D Object
X
Scripts
Feature
3D
Anime
Studio
Anime
Studio Pro
Feature
Anime
Studio
Anime
Studio Pro
Grid
X
Adjust Grid Size
X
Side by Side View
X
Over Under View
X
Four-Way View
X
Display Quality
X
Advanced Current Layer View
X
X
Product Comparison
303
304
Anime Studio
Users Manual
Import
Feature
Export Formats
Anime
Studio
Anime
Studio Pro
JPEG
X
X
JPEG
X
BMP
X
X
BMP
X
PSD (Layered using Anime Studio Script)
X
X
PSD (Layered)
X
PNG
X
X
PNG
X
TGA
X
X
TGA
X
X
Batch Image Export
X
2D FORMATS
Feature
Anime
Studio
Anime
Studio Pro
IMAGE FORMATS
EPS, AI, Tracing Image
3D FORMATS
MOVIE FORMATS
OBJ
SWF
X
X
SOUND FORMATS
MOV
X
X
WAV
X
AVI (WIndows Only)
X
X
X
Sequential JPEG
X
Sequential BMP
X
Sequential PSD
X
Sequential PNG
X
Sequential TGA
X
Batch Movie Export
X
AIFF
X
X
X
MOVIE FORMATS
MOV
X
X
AVI (WIndows Only)
X
X
MOHO FORMAT
MOHO File Format
Product Comparison
X
X
TV FORMATS
Anime Studio
Users Manual
NTSC Format
X
X
PAL
X
X
Product Comparison
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Anime Studio
Users Manual
Technical Support: Where to Go
When You Need Help
Online Manual
The first source of help when using Anime Studio is the online manual
that you’re reading now. If you’re just getting started and need some
basic tips on how to use Anime Studio, beginning with “Anime Studio
Tutorials” on page 10 as a good place to start.
For more in-depth instructions on using Anime Studio, the sections
“Using Anime Studio” and “Interface Reference” go into great detail
about performing specific tasks in Anime Studio and what all the user
interface elements are used for, respectively.
Anime Studio on the Web
Another good source is the Smith Micro web site at http://
my.smithmicro.com/tutorials/index.html#anime http://my.smithmicro.
com/tutorials/index.html#anime. We plan to keep this updated with
questions and answers and new sample files. You can also submit
feature requests and bug reports through the web site.
Technical Support: Where to Go When You Need Help
Anime Studio Discussion Forum
Share tips and tricks with other Anime Studio users on the online
discussion forum: http://www.lostmarble.com/forum/. Smith Micro staff
members also participate in this online group, and are happy to share
techniques and answer questions. News about the latest Anime Studio
updates is first posted to the online forum.
Email Support
You can also get your questions answered by email. If you have a
question, feature request, or would like to report a bug, contact us
at [email protected]. Please provide us with as much detail about
your problem as possible, so that we can understand exactly what’s
happening and more quickly come up with a solution for you.
Anime Studio
Users Manual
Acknowledgements
Artist Acknowledgements
Some parts of Anime Studio are based on libraries written by third party
organizations. Below is a list of libraries used by Anime Studio.
Smith Micro and Lost Marble would like to thank the following artists
for contributing to the content section. To access these files, please start
your Anime Studio application and select File > Import.
•
Anti-Grain Geometry http://www.antigrain.com Copyright © 20022004 Maxim Shemanarev (McSeem).
•
DK Toons http://www.contentparadise.com/Search.
aspx?searchText=DKToons
•
FreeType http://www.freetype.org Portions of this software are
copyright © 1996-2002 The FreeType Project. All rights reserved.
•
Cartoon Solutions http://www.cartoonsolutions.com
•
ToonProps http://www.toonprops.com
•
libjpeg http://www.ijg.org This software is based in part on the
work of the Independent JPEG Group. Copyright © 1991-1998,
Thomas G. Lane.
•
Vernon Zehr www.lowrestv.com
•
libpng http://www.libpng.org Copyright © 1998, 1999, 2000
Glenn Randers-Pehrson.
•
libsndfile http://www.mega-nerd.com/libsndfile/ Copyright ©
1999-2005 Erik de Castro Lopo.
•
DK Toons http://www.contentparadise.com/Search.
aspx?searchText=DKToons
•
Lua http://www.lua.org Copyright © 2004 Tecgraf, PUC-Rio.
•
Cartoon Solutions http://www.cartoonsolutions.com
•
Ming http://www.libming.org/ Copyright © 2001 Opaque
Industries.
•
ToonProps http://www.toonprops.com
•
PortAudio http://www.portaudio.com Copyright © 1999-2000
Ross Bencina and Phil Burk
•
Vernon Zehr www.lowrestv.com
•
TUI Studios http://www.tuistudios.com
•
zlib http://www.zlib.net Copyright © 1995-2002 Jean-loup Gailly
and Mark Adler.
•
Freakish kid http://www.freakishkid.com
•
Splinter Arts http://www.splinterarts.com
• The Smith Micro Content Team
Smith Micro would like to thank the following artists for imagery used in
collateral and Promos.
Acknowledgements
307
308
Anime Studio
Users Manual
•
Bru and Boegie http://www.bruandboegie.co.za
User Samples/3D Objects (Anime Studio
Pro only)
User Movies (Anime Studio Pro only)
•
Burt Abreu: fishtank1
•
Christian -Samb- Wasser (Studio: By Samb): sunscene
•
Dave Cockburn (Studio: Squeaky Pics): Squeaky_10sec
•
Burt Abreu: Building1
•
Erik Svensson: Ghost
•
Víctor Manuel Paredes Muñoz (Studio: Taza Triste studios):
animita, camion de basura, cigarro, pistola, catapulta, rhino
•
Mike Scott (Studio: Red Pepper): COOL_CATZ_INTRO_1
•
Misha Margolis: barnstory
•
Shi Yang: A1, A5
•
Vladimir O. (Studio: StudioSvet): otkritka
User Samples/Characters (Anime Studio
Pro only)
•
Nate Greenwall: knight Master
•
Burt Abreu: dummy, Jeremy
•
Philippe Cizaire: imagelayerfrog, skeletons, stampel
•
Shi Yang: A2, A3, A4, A6, A7
•
african elephant
•
Vladimir O. (Studio: StudioSvet): golova, Kati, KISSKI, kot,
Kozel, lef, sc, slon, tigr, volk, zaiac, zebr
Acknowledgements
dragón pulento
Direction, script, animation:
•
VENT_ErikvanSchaaik, Erik van Schaaik, www.erikvanschaaik.
com, [email protected]
Production:
•
•
Il Luster Productions, www.illuster.nl, [email protected]
Anime Studio
Users Manual
User Samples/Objects (Anime Studio
Pro only)
•
Burt Abreu: blurtest, bumpy1, circle1, crocus, curvetest1, epidea1,
hair1, hand1, leaf1, man1, mouth, myfish2, myfish3, oldman1,
rasbora_maculata, robohead1, shadowtest2, Snail, sparkdraw,
weedy1
•
Christian -Samb- Wasser (Studio: By Samb): people
•
Erik Svensson: Fire, Tree, Water ripple
•
Philippe Cizaire: collection
•
Vladimir O.: flag, glaz1, glaz2, glaz3, glaz4, glaz5, gudok, noga,
palec
DK Content (Anime Studio Pro only)
•
David Knight (Studio: Knight animations): Acoustic Guitar by
D.K, Aliens Dance and Walk by D.K, Anime girl frightened - by D.K,
Builders - by D.K, Cartoon Fruit - by D.K, Cow with Guitar - by D.K,
Cupboard with doors - by D.K, Funny guy - by D.K, Mobile Phone
- by D.K, Modern Dude - by D.K, Running Heart - by D.K, Slick
Salesman by - D.K, Two simple boys - by D.K
Acknowledgements
309
310
Anime Studio
Users Manual
Keyboard Shortcuts
Many tools and features in Anime Studio can be accessed quickly by
pressing a single key. These shortcuts make working with Anime Studio
much faster than the regular method of moving the mouse to a toolbar
and clicking a button, and are worth learning to reduce your drawing
and animation time. However, all these features are also available
through standard user interface elements (buttons and menus), so
learning these shortcuts isn’t a requirement to using Anime Studio.
Note: these shortcuts are not the same as “menu shortcuts”. Many of
Anime Studio’s menu commands can be accessed through the keyboard
- for example, Ctrl/Cmd+S will save the current document. Those types
of shortcuts are listed next to the menu item they apply to: just run the
program and look at a menu to find the shortcut.
Press the T key to activate the Translate Points tool.
Many of the keyboard shortcuts in Anime Studio are used to activate
a tool in a toolbar. If you want to know whether a tool has a shortcut,
hold the mouse over the tool, and watch the tooltip that appears. If the
Keyboard Shortcuts
tooltip has a single letter at the end (ex: “Translate Points (T)”), then
that key can be used as a shortcut to activate the tool. These keyboard
shortcuts are not listed here - just look at the tooltips in Anime Studio if
you want to learn them.
Some keyboard shortcuts work all the time, and some only apply in
while using certain tools in Anime Studio: the sections below lists all the
shortcuts and when they can be used.
Common Shortcuts
The following keyboard shortcuts can be used at any time:
•
Escape: Automatically adjust the view to see everything in the
active layer - hold the shift key to zoom in on the currently selected
points
•
Home: Reset the view to see the overall project
•
Enter/Return: De-select all points
•
Tab: Select all points that are connected to the current selection
•
Left Arrow: Step back one frame in the timeline - hold shift to
rewind
•
Right Arrow: Step forward one frame in the timeline - hold shift
to advance to end of animation
Anime Studio
Users Manual
Working with Vector Layers
•
Delete/Backspace: Delete the currently selected points
•
Spacebar: Weld two points together - usually used with the
Translate or Add Point tools
Working with Fill Tools
Working with the Timeline
Window
•
Alt/Option+Backspace: Delete the selected keyframe(s)
•
Alt/Option+C: Copy the selected keyframe(s)
•
Alt/Option+V: Paste the previously copied keyframe(s)
•
Spacebar: Play/stop the animation
•
Page Up: When in graph mode, zoom in on the timeline - hold shift
to move the graph up
•
Delete/Backspace: Delete the selected shape
•
Spacebar: Define a shape based on current selection
•
Up Arrow: Raise selected shape up one level - hold shift to raise
to top
•
Page Down: When in graph mode, zoom out from the timeline hold shift to move the graph down
•
Down Arrow: Lower selected shape down one level - hold shift to
lower to bottom
•
End: Auto-zoom the timeline, based on the active animation
channel (when in graph mode)
Working with Bone Tools
•
Delete/Backspace: Delete the selected bone (and any child
bones)
•
Spacebar: Bind points to selected bone
•
Up Arrow: Select parent of current bone
•
Down Arrow: Select child of current bone (only works if current
bone has just one child)
Keyboard Shortcuts
311
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Anime Studio
Users Manual
Mouse Shortcuts
There are a few shortcuts that take advantage of the mouse, making
work in Anime Studio more convenient once you learn them.
Workspace Navigation
Numeric Fields and Angle Knobs
An easy way to make small adjustments in numeric text fields and angle
knobs is to hold the mouse over the control and spin the mouse wheel
back and forth. Of course, you can still enter values into a text field by
typing them, but this method lets you make small adjustments and view
the changes immediately.
•
The right mouse button can be used to navigate the main Anime Studio
workspace.
•
To pan the workspace, click and drag with the right mouse
button.
•
To zoom the workspace, hold the shift key while dragging
with the right mouse button. You can also zoom the workspace by
rolling the mouse wheel back and forth over the workspace.
•
To rotate the workspace, hold down the control key while
dragging with the right mouse button.
Timeline Scrubbing
To scrub the timeline in small increments, hold the mouse over the
timeline and roll the mouse wheel back and forth.
Mouse Shortcuts
On a Windows PC, when using the mouse wheel to modify the
value in a text field, holding the Ctrl key halves the increment,
holding Shift doubles the increment.
•
On a Macintosh, when using the mouse wheel to modify the value
in a text field, holding the Cmd key halves the increment, holding
Alt doubles the increment.
This feature may seem cute but unimportant. However, it’s actually very
useful when working with the tool info panels in Anime Studio. By using
the mouse wheel, you can see your changes take effect immediately.
If you enter the number by hand, the change won’t take effect until
you press tab or enter. An especially helpful place to use this feature is
when setting bone angle constraints - these numbers can be tricky to
figure out, but spinning the mouse wheel you can see exactly what’s
happening.
Finally, you can adjust the value of a text field by dragging in it
side-to-side with the right mouse button. With a regular mouse, the
mouse wheel is probably more convenient, but this feature was added
specifically for animators working with tablets. A drawing pen usually
has no mouse wheel, so right-dragging allows you to adjust the value of
a text field without having to switch back to the keyboard.